PAPER 3, MODULE 15, TEXT

PRINCIPLE INVESTIGATOR

PROF. TUTUN MUKHERJEE,

University of Hyderabad

PAPER COORDINATOR

DR. NEERU TANDON,

V.S.S.D. College, Kanpur

CONTENT WRITER

DR. NIDHI ARORA,

Dr. AIMS, Indira Nagar, Bangalore-08

TITLE OF THE PAPER JANE AUSTEN-PRIDE AND PREJUDICE

MODULE 15

MODULE : JANE AUSTEN-PRIDE AND PREJUDICE

15.0 Learning Outcomes:

15.1 Jane Austen: A Biographical Sketch

15.2 Jane Austen‟s Contribution

15.3 Jane Austen as a novelist

15.4 Why is Jane Austen a Transitional Novelist?

15.5 Pride and Prejudice Plot

15.6 Pride and Prejudice as a social Comedy

15.7 Jane Austen‟s Art of Characterisation in Pride and Prejudice

15.8 Significance of the Title “Pride and Prejudice”

15.9 Critics on Pride and Prejudice

15.10 A Quick Recap

15.11 Self-assessment: Test Your Knowledge

15.12 Self-assessment: Answer the questions.

15.13 Know More: Bibliography for Further Reading

15.14 Know More: You Tube Clippings on Jane Austen and her novels

15.15 Appendix

15.0

Learning Outcomes:

The students will go through the contents on Jane Austen‟s „Pride and Prejudice‟ A

general introduction will help them in knowing about the transitional Age that Jane

Austen belongs to. As they go through the contents, they will come to know about

Jane Austen and her attitude towards, women and men of contemporary society.

Exercises in the form of objective questions and long questions will help them in

assessing their knowledge. Plot will make them feel of the text of the novel.

Bibliography for further reading will motivate them to know more about Jane Austen

in detail.

15.1

Jane Austen: A Biographical Sketch

Jane Austen was born On December 16. 1775. The younger daughter of George

Austen and Cassandra Austen was like her father a scholarly child who loved reading

books as a source of family entertainment. Jane Austen could sing, dance and play the

piano as well. She had some knowledge of French and Italian languages. She believed

that she should not marry simply from worldly motives and without love. Thus, she

decided not to marry. Jane Austen had a lovable character and temperament. Henry

Austen aptly said, “her stature was of true elegance…Her complexion was of finest

texture. It might, with truth, be said that her eloquent blood spoke through her modest

cheeks. Her voice was extremely sweet. She delivered herself with fluency and

precision” Jane Austen died 24th

July 1817.

15.2

Jane Austen‟s Contribution

Jane Austen started writing at the age of sixteen. She spent twenty seven years on her

six novels as after finishing each novel constantly revising them and then sparing

many more months to rewrite before publication. This the reason that the final version

of her novels have perfection

The novels by Jane Austen:

1. Sense and Sensibility (1811)

2. Pride and Prejudice (1813)

3. Mansfield Park (1813)

4. Emma (1815)

5. Northanger Abbey (1817)

6. Persuasion (1817)

15.3

Jane Austen as a Novelist:

Jane Austen is considered among the renowned novelists. She enticements the

characters and dialogues from real world of the time. She represents the society in the

forms of a social group which is formed to resolve the matrimonial complexities. In

the advancement of the plot, as the misunderstandings and frustrations increase, the

audience‟s curiosity also intensifies in the same proportions. The presentation of the

society in the form of parties, shopping, and dances is full of humour and irony. The

absence of complete perfection of hero and extreme behaviour of villain make her

novels more appealing to readers.

15.4

Why is Jane Austen a Transitional Novelist?

Transitional Elements in Jane Austen‟s novels

The period between 1740 -1790

The period between 1740 -1790 in English literature is known as Transitional age. This

period witnessed a struggle between the older of classism and gradual triumph of the new.

The literary novelist of this period or the period just after it has transitional tendencies in their

literature. On the one hand they maintained elegance to the classism of 18th

century on the

other ha\ha they have their leanings towards the new spirit of Romanticism.

Jane Austen-the product of the transitional period

Jane Austen is the product of the transitional period which intervenes between the ideal of the

18th century and 19

th centuries. On the whole she belongs more to 19

th than the 18

th century.

The 18th

century trends are to be marked in only one or two points in her works. First, one is

struck by her indifference to nature there is little of descriptive background in Miss Austen‟s

novel like Pope. She writes in the belief that “the proper study of men kind is man”. She is

interested only in her sex and in men so far as they are object of interest to women.

Character‟s drawn from humble life

Another 18th century feature in her novel is the absence from her pages of character‟s drawn

from humble life. She completely leaves out the poor and confines herself exclusively to

country gentry and upper middle class people. Thus we are constantly coming across same

types of characters. She seems to be of the view that the character should possess a certain

measure of social respectability. This may be owning to the influence of Miss Burney.

19th century or romantic elements in her novels

Now we shall discuss the 19th

century or romantic elements in her novels. While in the above

mentioned two respects Jane belongs to the 18th century. She is entirely of the 19

th century in

her treatment of characters. Jane is attracted by the naturalness and reality in speech and

behaviour of the persons. They think, speak and act as real human beings do. Her portraits are

remarkable for their finish, their closeness to human nature, the skill with which she exposes

motives even in the most common place an uninteresting characters she stands universal led

in her power of revealing character by means of dialogue alone—something exceedingly

difficult to do. By many a little touch and minute characters she develops her characters to

perfection till each of them stands out distinctly as separate personality. Where some novelist

would require pages of description to bring to life to an individual Jane Austen, in some

illuminating sentences of half a dozen words, a remark made by the character in question,

gives a complete account of that person.

Secondly, though in her words Pathos is lacking and passion of a deep over whelming kind is

treated, we have a constant play of humour often gently malicious of banter (strong satire

rather than sharp satire) and of Satire which never fail to delight the attentive reader.

Lastly, though never obtrusively didactic her novels are full of indirect moral instructions

ARCHBISHOP WHITELY, WHILE REVIEWING her novel said, “ they may be safely

recommended not only as among the most unexceptional of their class, but as combining in

an eminent degree instruction with amusement.”

Conclusion

To conclude Jane Austen to a great extent may be called a transitional novelist. In her work

there is a happy and interesting blend of classical and romantic tendencies. Naturally, her

works were affected by the age in which she lived and that was the transitional age.

15.5

Pride and Prejudice- Plot

Well-knit and organic plot

Jane Austen‟s plots are well knit and organic plot. This applies to Pride and Prejudice as

well. In Pride and Prejudice there are very little superfluous scene or characters. In this novel

with the possible exception of Kitty and Mary there is no other character or no event that may

be called superfluous or that does not contribute to the development of the story. Even the

comic proposal to Elizabeth of Mr. Collins has its own significance. It highlights the

character of the heroine and shows her in favourable light.

The sequence of events is logical and inevitable.

The story opens at Longbourn. The arrival of Mr. Bingley at Netherfield Park is an important

event because of matrimonial intensions of the Bennet family and also because it is with him

that the hero Darcy, makes his appearance. There is a ball at Netherfield which helps a step in

the development of the plot. The plot develops through the conflict between Darcy and

Elizabeth, the pride of one and prejudice of other.

Jane Austen shows her skill in the handling of events

Jane Austen shows her skill in the handling of events which now follow in quick succession

resulting in the deepening of Elizabeth prejudice and the awakening of Darcy‟s love for her.

Gradually, the conflict between Pride and Prejudice weakens as Darcy makes his proposal to

Elizabeth at once rejected. W.L. Cross praises the novelist and says that since Fielding no

novelist “has been master of structure”. He further says that the marriage of Elizabeth is not

merely a possible solution of the plot, it is as inevitable as the conclusion of a poetry

constructed syllogism or geometrical “demonstration for a parallel of workmanship of this

high order, one can only goes to Shakespeare.”

The structure of Pride and Prejudice is dramatic.

Baker divides the novel into five Acts. In the manner of “Much Ado about Nothing” the

attitudes of the hero and the heroine gradually undergo a complete reversal and marriage is

the only solution. The beginning of the story brings together the hero and the heroine. The

story develops through conflict between their respective Pride and Prejudice and ends with

the reversal of their attitude. In the manner of drama “The action is carried forward through

short scenes and dialogues” Walter Scott.

Characters are also developed through dialogues

Characters are also developed through dialogue instead of description or analyses. Comedy

deals with the conflict between illusion and reality and this is also the theme of Jane Austen‟s

novels. Jane Austen‟s novels are dramatic noves , the novels of conversation rather than

action.

The plot of the novel is compound and not simple.

There are several pairs of lovers. The novel consists of sub-plots, digressions and episodes in

Pride and Prejudice. We have

A. Love of Darcy-Elizabeth -The Main Plot

B. Love of Jane- Bingley- Sub plot

C. Love of Lydia- Wickham -Episode

D. Love of Collins- Charlotte- Episode

All these different threads are woven together skilfully.

The sub-plot serves as a foil to the main plot. Jane and Bingley are passionate lovers as

constructed with the active love of Elizabeth and Darcy. Bingley‟s sudden departure for

London from Netherfield heightens Elizabeth‟s prejudice towards Darcy. For she consider

him responsible for the misery of her sister. The sub- plot which remains at the front in the

beginning is pushed into the background when the main plot (story) starts.. Lydia-Wickham

episode adds the element of melodrama. It also highlights the essential mobility of Darcy and

helps to dispel the prejudice of Elizabeth. The comic proposal of Collins imparts the dramatic

relief. His marriage with Charlotte resolves in Elizabeth‟s visit to Hunsford where she comes

to know more about Darcy and prejudice weakens. Thus there are no loose ends and all the

part have been well fused into single compact whole.

The complexity in the plot undertakes emotions

The complexity in the plot is also provided by the undercurrent of emotions running through

it. The entire plot is suffused not only by emotion but also by thought- the thinking process of

Elizabeth.

Novel of conversation and little action.

It is said that the novel like all the other novels of Jane Austen is a novel of conversation and

little action. Whatever action there is, it is trivial and common place. It consists merely of

little visits shopping expedition, wedding dinners, tea-parties, dances, card-playing and the

like. Although these actions are trivial and insignificant yet with her exquisite touch it is

transformed into the uncommon and significant. The novel is the novel of common, everyday

situations. It is the apotheosis of the common place.

Conclusion

To conclude the plot of the novel has an exactness and symmetry of form and structure. W.L.

CROSS writes, she is a “pure novelist” with emphasis on, “the formal peculiarities of

compositions, and the sub-ordinations of parts to the whole”

15.6

Pride and Prejudice as a Social Comedy

Interpretation of Social Life in Terms of Comedy

Pride and Prejudice is social comedy. It is a social because it is a study in the social life of

two or three middle class families‟ in a provincial town. Jane Austen has studied the actions

and reactions of the people within these narrow limits. It is a comedy because Jane Austen

has exposed the foibles, the follies and the absurdities inherent in the life and character of

these people. Hence the remark of David Daiche that in Pride and Prejudice the novelist,

“has exposed the economic basis of sound relationships with an ironic smile.”

The Presentation of Middle class social life:

The Novel deals with the social life of the Bennets‟, the Lucas‟ and the Bingley‟s. They are

all leisured middle class people who have not to bother about earning their livelihood. The

Bennet‟s may be said to belong to the lower Middle class with only two thousand a year, and

the Bingley to the upper middle class with a much higher income. Their life is a round of

visiting, playing cards, singing, going to dinners and inviting people to dinner. Occasionally,

they go out of the Longbourn neighbourhood. The petty jealousies, rivalries, doubts and

suspicious with beset this narrow and confined life have been skilfully exposed by the

novelist.

Life of Aristocracy-Military Life:

Novelist has not failed to provide us with glimpses of the life of aristocracy. Lady De-Bourgh

is an aristocrat, proud, arrogant and insolent. She lives an artificial life of pomp and show and

likes to display her wealth and splendour. She has nothing to do and finds diversion in taking

rides in her carriage, listening to the pianos, or inviting people to dinner. The life of the

country clergy has also been glanced at through Mr. Collins. They have nothing much to do

and depend for their living in the patronage of the great whom they flatter in season and out

of season. Similarly through the flirtation of Lydia and Catherine with the military officers,

we can form an idea of their social life. It seems to be a corrupt lot which finds it‟s diversion

in having love- - affairs with the girls in the towns where there is regiment is stationed. Mr.

Wickham is a typical specimen of the class, dishonest and profligate.

Limitations of Picture:

Such is the social life depicted in the novel. It will be noticed that the life of the lower

classes, and of those who earn their living by the sweat of their brow, has been rigidly

excluded. As has been well said, no footman ever crosses the stage of Jane Austen. We may

get an occasional glimpse of a housekeeper, but it is only from the distant. Similarly, city life

is beyond the range of novelist. Even though Jane Bennet goes to London and stays with

Gardiner for a Pretty long time nothing is told to us of metropolitan life.

Financial Motivation:

The basis of this social life is money. It turns on monetary considerations. I that is the way it

has been said,” Jane Austen‟s text is money”. Andrew H. Wright and Persal Smith both find

Pride and Prejudice didactic and mercenary.” Leonard Woolf points out that in Pride and

Prejudice “the social standards are almost entirely those of money and snobbery.

Materialism of Mrs. Bennet: Its Ironic Treatment:

The basis of social relations in Pride and Prejudice is economic and Jane Austen has exposed

it with an ironic smile. The chapter, in the novel are guided in their relationships by monetary

considerations. Mrs. Bennet‟s one ambition in life is to see her daughters well married to

eligible young man and their eligibility is to be judged only by one standard- the economic.

She considers Bingley an excellent match for Jane, not for any other consideration but solely

because he has a large fortune, “A single man of large fortune, four or five thousand a year!

What a fine thing for our girls!” She considers the absurd Mr. Collins a suitable match for her

sensible and cultured Elizabeth, merely because he can provide her with a comfortable home.

The Lucases: Their Materialism-it‟s treatment:

The attitude of Lucases towards love and marriage is entirely materialistic home. It is for this

reason that charlotte accepts the fool of Hunsford and her parents approve of choice.

However, the absurdity of Mr. Collins and the kind of life charlotte leads at Hunsford has

been fully exposed through the stay of Elizabeth at Parsonage.

Wickham-His Greed and Dishonesty:

Mr. Wickham himself is a character with whom money is everything. He must get money by

hook or by crook. He tried to elope with Miss Darcy not because he loved her, but because

she had a large fortune. He flirted with Miss King for this very reason. He agreed to marry

Lydia only when he had extorted a large amount of money from Darcy. Wickham- Lydia

episode is a criticism of military- life of the day. It is also a criticism of parents like Mr.

Bennet who neglect their children. Had he taken more care of his daughter and exercised

greater control over their movement, wickham has been shown as thoroughly deprived and

wicked ready to sacrifices, however virtue, friendship, everything for the sake of money. He

has great personal charms but he exploits them to get money. Jane Austen has succeeded in

making him thoroughly despicable.

Lady De bourgh, A Comic Figure:

The arrogant and ill-mannered lady DeBurrgh has also become a victim of the ironic smile of

the writer. She has a large fortune and her sole diversion in life as to display her splendour. It

is for this reason that she invites people to dinner. Those who flatter her, like Collins, and

tolerate her insolent behaviour and liked by her. The contemptible, stupid lady does not like

that Elizabeth should marry Darcy, because Elizabeth is poor and comes to a moneyed,

aristocratic family. However, her attempts at preventing their marriage only make her

ridiculous. The readers are much amused at her her discomfiture. Ironically enough her

efforts serve to hasten the union of Darcy and Elizabeth which she had tried to prevent.

Conclusion

Thus Pride and Prejudice is a social comedy in which relationships, even love and marriage

relations find a mercenary motivation. The novelist has observed the absurdities of character

and social life and interpreted them in a humorous manner. She has exposed the absurdities of

excessive materialisms with an ironic smile. However, it must be pointed out that her picture

of social life is a limited one. It is limited to the life of leisured middle classes in a provincial

town. No doubt, by and large, money motivates the actions of the chief personages. Pride and

Prejudice is a criticism of life expressed in terms of comedy.

15.7

Jane Austen‟s Art of Characterisation in Pride and Prejudice

Variety and Abundance of Character

One of the triumphs of Jane Austen‟s art is the immense vitality and variety of her characters.

Macaulay considers her the equal of Shakespeare. However there is no denying the fact that

her novels are well stored portrait gallery.

Narrow Canvas but Great Variety

Jane Austen‟s characters are all drawn from the upper middle class or landed gentry in a

provincial village. There is, no doubt that she paints on a narrow canvas, but this does not

mean that her range of characters is also narrow one. As a matter of fact her range is very

vast, “In her six books she never repeats a single character”. Fine shades of characters are

skilfully brought out. No two flirts, no two snobs, no two fools are alike. The folly of the

foolish and the villainy of the wicked are sharply distinguished. Mrs. Bennet, Mr. Collins and

Lady De Burgh are three figures of fun in the same novel, but how different from each other.

Characters Drawn in their Private Capacity

Jane Austen draws characters from her personal experiences and knowledge. She had been

familiar since childhood with landed country gentry. It is a leisured class with nothing serious

to do. The time is passed in smoking, gossiping, playing cards, or in singing, dancing and

visiting. The tenor of this life is smooth, the passion are unknown to her respectable ladies

and gentlemen. There is no doubt that she draws men in their private capacity in their relation

with their wives, children and neighbours and friends not in relation to government or to god

or even in relation to their higher passions. If you want to know man‟s temper you must study

him at home and Jane Austen does so and thus succeeds in bringing out the fundamental

nature of her man and women. As David Celil puts it “Jane Austen‟s realistic English

drawing rooms are theatres in which elemental human folly and inconsistency play out their

eternal comedy”

Vitality of her Characters: Their Complexity

There are other reasons also for vitality of her characters. She can visualise the externals of

personality as vividly as Dickens himself. With a few brief sentences she can bring out the

habit, the dress, the appearance, the tricks of speech, in short any oddity and idiosyncrasy of

his creatures

However, she does not stop at that. Her discriminating vision can penetrate to the organising

principals of a personality that lie beneath the surface. She can discern the motives and causes

of conduct, the essential of actions. Her characters are living breathing relations and not mere

puppets of absurdities.

Their Many Sidedness

Her characters are many sided: they are mixture of good evil, virtue and wickedness in

varying proportions like real human beings. Jane Austen is impartial she l does not idealise.

She has sympathy with all, identify only rarely as with Elizabeth. Her most virtuous

characters have their faults and what is more striking; she shows how these faults integral to

their natures. They have certain virtues and these very virtues result in certain faults in their

respective characters. Thus, Elizabeth is intelligent, witty and discerning but these very

virtues make her own judgment. The intensity of Jane‟s vision fuses vices and virtues into a

single integrated personality. This g “gives her characters volume; they are not merely

brilliantly drawn silhouettes, but solid, three dimensional figures, who can be looked at from

several sides” (Celil). However, Maria and Kitty in Pride and Prejudice are exceptions in this

respect. They fail to come to life..

The Foolish and Vulgar Transformed By Sense of Humour

Jane Austen had a keen sense of humour. Her eyes take on a merry twinkle when they fall on

any specimen of the Ludicrous. Conceit, vanity, silliness and pomposity of men tickle her to

laughter that is why a large majority of characters are regular figure of fun. But her magic

wand transforms even fools and bores of real life into the most amusing and entertaining men

and women. Mrs. Bennet is foolish, vulgar and peevish. The best example of folly is her

happiness at the elopement of Lydia. In life, nobody can tolerate such a woman but the

imagination of Jane Austen transforms her into an inexhaustible source of fun.

Round and Straight Characters

Jane Austen‟s grasp of human psychology enables her to conceive her characters in the

round. Her characters are not flat; they change and grow under the stress of circumstances

and become different from what they were in the beginning. Thus Darcy undergoes a sea

change; and Elizabeth too is much altered. Even Mr. Bennet is shaken out of his

complacency. However, this applies only to the principal figures. The minor once are not

modified by circumstances. Mr. Collins is a straight character; he remains the same from the

beginning to the end. In a like manner, Lydia, Kitty, and Mary too do not change and grow.

Her Female Characters:

Jane Austen excels in painting women characters. Her women are more complex and more

memorable than her men. Some of the men are excellently drawn but they are invariably

drawn from the women‟s point of view. Certain aspects of their personality which, a woman

is not accepted to know are left out. However, with women it is an entirely different matter.

As Baker Points out in each one of her six novels a young woman, witty sensible discerning

and charming is the centre of interest and entire action is presented from her point of view.

These young ladies of her novels are in love, without being great lovers. The peaks and

heights of love are not known to them. They are the mouthpieces of the novelist; indeed some

like Elizabeth may be attributed to Jane Herself.

1. “Intricate characters are the most interesting”

2. “I hope I never ridicule what is wise and good”

3. “Follies and nonsense, whims and inconsistencies, do divert me”

Use of Dramatic Methods:

Jane Austen‟s methods of character presentations are dramatic. The character is developed

through short scenes in dialogues. A character reveals himself in his conversation. Further

light is thrown upon his nature by what others say about him. Thus the character of Bennet is

revealed in the very first chapter through a dialogue between husband and wife. Soliloqy too

is made use in moments of stress. Thus, the soliloquy of Elizabeth oand receiving Darcy‟s

letter of explanation is a remarkable piece of character analyses.

No Exaggeration of the Absurd

Jane Austen is a true humourist and she takes immense delight in the ridiculous aspects of

her characters. Absurdities of Mr.Collins, Mrs. Bennet or Lady De Bourgh lead her to depict

them with profound interest. She does not exaggerate; she simply exposes the follies which

are natural to them. Their absurdities are the natural outcome to their souls. Thus, she is

excellent in her art of Characterisation.

15.8

Significance of the Title “Pride and Prejudice”

Pairing two slightly contrasted “ethical” terms

Jane Austen employs the style of pairing two slightly contrasted “ethical” terms to serve as

the title of two of her novels: „Pride and Prejudice‟ and sense and Sensibility‟. Both these

novels had initially, different title i.e. „First Impression‟ and Elinor and Marianne‟

respectively but on revision got the present titles. This style of “ethical” title was commonly

associated with „conduct‟ fiction, the books were designed to illustrate in their stories and

commentary the correct way for young women to behave in the situations. They were likely

to encounter in polite mi polite middle class society- how a young lady should composed

herself at dance how she should deal politely get firmly with a young man who is presenting

her, how she should deal who insults her; how she should refuse an offer of marriage how she

should behave towards an older woman of superior rank. And these precisely are the

situations that Elizabeth Bennet has to cope with and obviously the question of her conduct is

on these occasions is paramount in „Pride and Prejudice‟.

Not a “conduct Fiction”

However, Pride and Prejudice is not a “conduct Fiction” and so there is no “how” in Jane

Austen, no directive about right and wrong ways to behave. Our judgments of Elizabeth do

not arise from rules of propriety but from her behaviour as a unique individual in

circumstances which are particular to her.

Anti-conduct fiction

Against the morality of “conduct fiction” Jane Austen sets her own individual mode of anti-

conduct fiction. In the novel as a whole, the anti-contained within the exploration of the terms

“Pride and Prejudice”. Sometimes the terms are discussed and analysed directly, as they are

when Elizabeth and Darcy examine themselves and scrutinize their past feeling and

behaviour. More generally they force of the terms is illustrated dramatically in the scheme of

characterisation, which extends outwards from the hero and heroine, showing the depth and

complexity of human that can stand behind nature that can stand behind terms so decrepitly

simple. In Darcy “Pride” is both positive and Negative; both a proper, justified pride in the

history of his family and an offence, Elizabeth‟s “Prejudice” is the negative aspect of

something positive, her spirit and high intelligence. She confesses this to Jane,

“And yet I meant to be uncommonly so decided a dislike to him, without any reason.

It is such a spur to one‟s genius, such an opening for wit to have dislike of that kind.

One may be continually abusive without saying anything just; but one not always

laughing at a man without now and then stumbling on something witty.”

Her “Prejudice” was originally fired by her hurt “Pride” at the Meryton Ball, by

Darcy‟s insulting proposal of marriage( at Hunsford) and by slanders spread by

Wickham.

Complex varieties of Pride and Prejudice In Mr. Collins

There are other equally complex varieties of Pride and Prejudice. In Mr. Collins is

displayed the sanctimonious pride of a man who relishes in delivering a savage

“Christian” judgment and who enjoys a toadying, obsequious existence in the

reflected glory of his patroness.

Complex varieties of Pride and Prejudice In Charlotte, Lucas

In Charlotte, Lucas, we watch the sinking of self-pride for the sake of marriage to a

man(Mr.Collins) whose own self-pride is lost. In Mr. Bennet we see self-pride

embittered, turned to malice, elated into a power of isolation and affected

indifferences.

Conclusion

The “Pride” and “Prejudice” analyses can be carried out rewardingly in all the

characters but it is a narrow and static line of analyses and Jane Austen‟s statement

through the novel is that characters of human complexity cannot be understood or

explains by this kind of labelling. In effect, the novel rejects such fixed terms of

classification and judgment and requires us to adopt the flexible and dynamic values

of judgment formed in the novels structured of dramatic irony. Within that context,

the terms “pride” and “ Prejudice” have a place, however not the leading role that they

are assigned ironically, in the novel‟s title.

15.9

Critics on Pride and Prejudice

1. Pride and Prejudice is rather too light and bright and sparkling, it wants

shade, it wants to be stretched out here and there with a long chapter of sense,

if it could be had, if not, of solemn spacious nonsense, about something

unconnected with the story, an easy on writing, a critique of Sir Walter Scott

or the history of Bonaparte, or anything that would form a contrast and bring

the reader with increased delight to the playfulness and epigrammatism of the

general style. (Jane Austen)

2. The kind of Moral also which these novels inculcate , applies equally to the

paths of common life (Walter Scott)

3. Miss Austen‟s very finely written novel Pride and Prejudice…that young lady

had a talent for describing the involvement and feeling and characters of

ordinary life which is to me the most wonderful, I ever met with…What i pity

such a gifted creature died so early! (Walter Scot)

4. We know not whether Miss Austen ever had access to precepts of fiction who

have illustrated them more successfully.(Richard Whatley)

5. While other writers have had more power over the emotions more vivid

imagination, deeper sensibilities, deeper in sight and more of what is properly

called invention, no novelst had approached her in what we may style the „

economy of Art‟ by which is meant the easy adaptation of means to ends,

which no aid from superfluous elements. It is easy for the artist to choose a

subject from every day life, but it is not easy for him so to represent the

characters and their actions that they shall be at once life like and

interesting…(C.H.Lewis)

6. Of the popularityof Miss Austen‟s six novels, of the estimation in which they

are held, we need not speak . it is honourable for the public that she should be

so thoroughly appreciated, not merely Walter Scottand Lord Macauly, but by

all a who take up her books for mere amusement.(Julia Kavanagh)

7. Like all great comedians, she satirizes in relation to a universal standard of

vvalue her books express general view of life….Jane Austen was profoundly

moral. She thought you lived onlyto be good, that it was the first duty of

everyone to be sincere, unselfish and disinterested. (David Cicil)

8. One of Jane Austen‟s most successful method is to offer her readers every

excuse for reading as rather exaggerated figures of fun, people whom she

herself detests, and fears. Mrs. Bennet, according to Austen tradition is one of

our richly comic characters about whom we can feel superior, condescending,

perhaps a trifle sympathetic and above all heartily amused and free from care.

(D.H. Harding)

9. I will begin…with the exception. Jane‟s attitude to „work‟ is the antithesis of

that of a capitalist, and pre-eminently of the Victorian bourgeosis. There is

hardly a single male character in her novels who does any work, to work at all

is, indeed, almost in a compatible with the status of a gentle man, she

recognises as socially possible only the following professions, the army, navy,

the church and with some reservations, the law. (Leonard Woolf)

10. In Pride and Prejudice particularly in the presentation of Darcy‟s character,

Jane Ausen has shown an almost Jamesian awareness of the multiple waysof

reading man‟s behaviour. She conveys her sense of the possibility of very

different interpretations of the same, action as James often does, through

dialogues, which look trivial and which are extrely ambiguous. (Robert

Liddell)

11. Jane Austen Like wise often uses irony as a stylistic device and for quite un-

ironic purposes to fly, to poke fun, to underline a decided judgment when

there is no real contradiction involved. Pride and Prejudice and Emma are

jane Austen‟s great detective novels, in Emma the underlying mystry is kept

up longer but the plot of Pride and Prejudice till the moment of Darcy‟s

declaration, affords even more wonderful opportunities for irony and

misunderstanding. (Robert Liddell)

15.10

A Quick Recap

1. Pride and Prejudice is the second novel of Jane Austen.it was published in

1813.

2. This is the most prevalent novel of Jane Austen. The heroine of the novel is

Elizabeth; the hero is Darcy.this story is all about the Mr. and Mrs. Bennet‟s

five daughters-Jane, Elizabeth, Kitty, Mary and Lydia.

3. Another important family in the novel is of Mr. and Mrs. Lucas and their

daughter Charlotte and Maria.

4. The short time arrival of Mr. Bingley along with his friend brings the

excitement in the small town Longbourn. In a ball dance at Neitherfield Park

Bennts‟ family and Lucas family meet Mr. Bingley and Darcy.

5. Jane danced with Mr. Bingley but Elizabeth develops prejudice against Darcy.

6. Mr. Collins a distant relative of Bennets after getting the rejection from

Elizabeth, proposes Charlotte who accepts the proposal.

7. Bingley goes back to London. Jane visits to her maternal uncle Mr. Gardinar

in London.

8. Elizabeth goes to Charlotte‟s new home at hursford. There she meets Darcy.

Meanwhile Wickham eloped Lydia along with him. Darcy helps a lot in this

case. He clears off the debts of Wickham and also pays him a handsome

amount. It is only then Wickham marries Lydia.

9. Darcy already told Elizabeth that Wickham had tried to abduct his sister

Georgiana .Elizabeth now realised her mistake. In the meantime Lady

Catherine de Bourghwantsc to Mary Darcy and she tries to persuade Elizabeth

to not to marry Darcy. At last Elizabeth is married to Darcy and Jane is

married to Bingley.

10. The whole plot revolves around the theme of marriage.Jane Austen is said to

be a founder of domestic novels. All of her six novels set against the social

background but they focus on domestic problems.