Mr. Darcy

Mr. Darcy is an intelligent, tall, fine, handsome, wealthy and reserved gentleman, who often appears haughty or proud to strangers. Mr. Darcy has a strong moral fibre and a natural and somewhat embarrassed kindness. Mr. Darcy is the owner of the fictional estate of Pemberley, he is described as the perfect landlord, a sensible and honourable manager of the estate. He has a great responsibility to keep the estate running – and the locals who depend on it for a livelihood are lucky to have such a good master.

Mr. Darcy’s inflated personal pride, snobbish indifference and arrogance causes him to consider Elizabeth Bennet as low-born and plain, “tolerable” and “not handsome enough to tempt him”. However, afterwards he becomes attracted to Elizabeth, and courts her clumsily while struggling against his continuing feelings of superiority. His arrogance and rudeness enhance his desirability, and they are reconsidered later as a sign of his repressed passion for Elizabeth. Pride and Prejudice Writing Style

Surprising Turns of Phrase, Sarcastic, Subtle, Pointed Austen is the total master of the slow, subtle burn. It’s like poetry in motion – you just watch as sentence after sentence starts out nice and predictable and then – BAM! – right in the kisser. Let’s watch and learn how a pro does it in this paragraph that introduces Sir William Lucas, Charlotte’s dad: Sir William Lucas had been formerly in trade in Meryton, where he had made a tolerable fortune, and risen to the honour of knighthood by an address to the king during his mayoralty.

The distinction had perhaps been felt too strongly. It had given him a disgust to his business, and to his residence in a small market town; and, in quitting them both, he had removed with his family to a house about a mile from Meryton, denominated from that period Lucas Lodge, where he could think with pleasure of his own importance, and, unshackled by business, occupy himself solely in being civil to all the world.

For, though elated by his rank, it did not render him supercilious; on the contrary, he was all attention to everybody. By nature inoffensive, friendly, and obliging, his presentation at St. James’s had made him courteous. (5. 1) First we go swimmingly along, as Sir William is shown to be a well-off guy who even gets to make a speech in front of the king. Then, though, check out the long third sentence, as the narrator asterfully goes from Sir William’s point of view (he now finds actually working for a living “disgusting” and moves to a house in the country) to an outside perspective on Sir William’s growing egotism (all he does now is “think with pleasure of his own importance”), and then, finally, rounds it off with an amazing judgment on the way climbing the social ladder creates a useless man out of an industrious one (Sir William is free from the “shackles” of his work and now just spends his time being “civil”).

Funny – but we’re not done yet. The problem isn’t really just that Sir William himself has become totally purposeless ever since getting his knighthood and becoming too high class for his business. The narrator next expands the issue further, pointing to the culture at large, which is more than happy to go along with Sir William and his new attitude.

Check out how, because he’s all fancy and titled, in the eyes of his neighbors he gets a fancier adjective to describe his behavior (instead of simply “friendly” he’s become “courteous,” which also carries the pun of “court” (as in royal court) inside it – the place where Sir William has picked up his new status). By the ‘two themes’ I assume you mean pride as one theme and prejudice as the other? Because there are many, many more themes to the text than that: don’t be led astray into thinking they’re the only ones (or the most important; the novel’s title is somewhat arbitrary).

One of my personal favourite ways Austen plays with language in P&P is how, once married, Charlotte Lucas is often lumped into conversation as if she is property and little more than an animal (the quote that comes to mind is something about Lady Lucas enquiring of the ‘welfare and poultry of her eldest daughter’ after the visit to Rosings — apologies I don’t have to text to hand to find the exact quote). If you’re looking for Irony, look carefully at practically anything Elizabeth says, particularly in conversations with her mother.

Elizabeth says an awful lot in jest, where as her mother is very literal and very closed-minded. In fact, any exchange that involves Mrs Bennet tends to include some irony as she never realises she is being laughed at. Take a story’s temperature by studying its tone. Is it hopeful? Cynical? Snarky? Playful? Ironic, arch, wry, full of witticisms and bon-mots, arm’s length Reading this novel is kind of like having a conversation with someone who says snarky things in a deadpan voice while onstantly raising her eyebrow. You know what we mean? Austen is just so clearly amused by her characters and their nonsense and also totally committed to discretely pointing out their foibles. It’s not that she hates them or is disinterested or anything, but her narrator definitely keeps a distance and functions as an observer who is always elbowing the reader to look at the next funny thing. Check out this description of the aftermath of Mr. Collins proposing to Charlotte: In as short a time as Mr.

Collins’s long speeches would allow, everything was settled between them to the satisfaction of both; and as they entered the house he earnestly entreated her to name the day that was to make him the happiest of men; and though such a solicitation must be waived for the present, the lady felt no inclination to trifle with his happiness. The stupidity with which he was favoured by nature must guard his courtship from any charm that could make a woman wish for its continuance; and Miss Lucas, who accepted him solely from the pure and disinterested desire of an establishment, cared not how soon that establishment were gained. 22. 2) Both Charlotte and Mr. Collins are clearly mocked here, although, obviously, Mr. Collins is a much easier and bigger target. Look at the different ways the mockery works, though. First, we’ve got the overhead view, meaning the narrator takes in the scene and shows us the ridiculous in all its glory: it’s funny to try to picture just how not “short” Mr. Collins’s “long speech” would be. There’s also that great joke in the idea that the proposal is “settled to the satisfaction of both” (because the satisfaction is kind of pragmatic since Charlotte is Mr.

Collins’s third choice and he is her choice only because he’s got a job and a house and it beats living at mom and dad’s). Next, we get to laugh at Mr. Collins more from Charlotte’s point of view. Even though they aren’t in quotes, the words about his “stupidity” and the lack of “charm” in his “courtship” are clearly her thoughts as he goes on and on in his pompous way. Finally, we circle back around to the narrator mocking the characters again, as we check out how Charlotte is going to deal with the fact that she can see how lame Mr. Collins is. Answer: she’s going to wait as long as possible to actually get married. ) What’s Up With the Title? You know what’s funny about this title? Well, you know how nowadays, the book jackets for novels written by the same author are usually really similar – same font, same general layout, and so on? (Think about those endless John Grisham novels. ) That’s because publishers are going for an if-you-liked-that-you’ll-also-love-this approach. Pride and Prejudice is basically the result of the same kind of thing, turn of the 19th century-style.

Originally, the novel was going to be calledFirst Impressions, but after Austen hit the big time with the blockbuster sales of Sense and Sensibility, her publisher asked if they could try for a little branding magic by sticking to the same title formula: noun-and-noun. This is all well and good, and sure enough, this new novel went over like gangbusters. Does anything change, though, about how we might see the novel when we go from the first title to the second? Well, with First Impressions, readers are right off the bat being shown things from the characters’ point of view.

After all, it’s Darcy and Elizabeth that are going be to be making and having these impressions, and, this title suggests, we’re going to experience these impressions right alongside them. Also, think about what first impressions are all about – people interacting with each other. A novel called First Impressions puts the idea of people meeting with and reacting to other people front and center. The focus is on manners, behavior, and outward appearance. Not to mention, oftentimes first impression are wrong. On the other hand, Pride and Prejudice turns the thing around 180 degrees.

With a title like that, we’re no longer looking at things through the characters’ eyes. Instead, the title sounds like someone is being called names – and it’s up to the reader to try to figure out who is who. The reader isn’t buddy-buddy with the characters any more, but is instead totally supposed to be all judgy and superior from the get-go. With Pride and Prejudice as the title, our novel BFFs aren’t Darcy or Elizabeth at all. Instead, our main pal is the narrator, who knows ahead of time that someone’s full of pride and someone else is probably full of prejudice.

Also, we’ve now moved into some deep psychological territory here. Feeling prideful and being prejudicial are things we do in the privacy of our thoughts, not things we wear on our sleeve. A novel named in this way makes readers immediately get ready for being all up in the characters thoughts, seeing how they make decisions and what their value systems are all about. Which title do you prefer? Why? ————————————————- Style Pride and Prejudice, like most of Jane Austen’s works, employs the narrative technique of free indirect speech.

This has been defined as “the free representation of a character’s speech, by which one means, not words actually spoken by a character, but the words that typify the character’s thoughts, or the way the character would think or speak, if she thought or spoke”. [8] By using narrative that adopts the tone and vocabulary of a particular character (in this case, that of Elizabeth), Austen invites the reader to follow events from Elizabeth’s viewpoint, sharing her prejudices and misapprehensions. The learning curve, while undergone by both protagonists, is disclosed to us solely through Elizabeth’s point of view and her free indirect speech is essential … for it is through it that we remain caught, if not stuck, within Elizabeth’s misprisions. “. [8] Clear, Witty, Sarcastic In this dialogue-driven novel, wit and sarcasm predominate the text. Pride and Prejudice is often an exercise in reading between the lines, as Austen’s characters must almost always use polite language to mask their true intentions. The greatest exception is, of course, when Elizabeth chews Darcy out after his proposal. ) We’ll offer two examples up for you. Mr. Bennet’s response to his wife after she subjects him to a play-by-play of Mr. Bingley’s actions at the ball: “If he had had any compassion for me,” cried her husband impatiently, “he would not have danced half so much! For God’s sake, say no more of his partners. O that he had sprained his ankle in the first place! ” Mr. Bennet clearly doesn’t mean these things. What he’s really saying is that he wishes his wife would spare him the details.

The following snippet of conversation between Lady Catherine and Elizabeth takes place at the end of a long interrogation from Lady Catherine. “‘Upon my word,’ said her ladyship, ‘you give your opinion very decidedly for so young a person. Pray, what is your age? ’ ‘With three younger sisters grown up,’ replied Elizabeth, smiling, ‘your ladyship can hardly expect me to own it. ’ Lady Catherine seemed quite astonished at not receiving a direct answer; and Elizabeth suspected herself to be the first creature who had ever dared to trifle with so much dignified impertinence. See what we mean? Elizabeth dodges Lady Catherine’s question, but does so in the politest way possible. We call it…polite resistance, and it requires a great deal of quick thinking. STYLE Jane Austen’s graceful, economical narrative style was unique in her time. It was an era in literature given to flowery wordiness and emotional excess. Readers of the day could take their choice among collections of sermons to improve their minds, tales of sin and punishment to improve their morals, and horror stories to stimulate their circulation.

Pride and Prejudice is told in a readable prose without a single superfluous word, and it frequently breaks into dialogue so lively and so revealing of characters that entire scenes have been lifted bodily from the novel and reproduced in dramatized versions for stage and screen. In some passages the author enters into the mind of one or another of her characters, most often into her heroine Elizabeth’s, and there she reveals her character’s capacity for humor and self-criticism. Austen’s style is so deceptively lucid that we can hardly believe she submitted her writing to so much polishing and revision. | POINT OF VIEW Pride and Prejudice is mostly written from the objective view of an external observer. However, from time to time the novel departs from this objective storytelling approach to explore the thoughts and feelings of a character-either Darcy as he slips little by little into love with Elizabeth, or Elizabeth as she considers her own behavior and the behavior of others. Whatever the approach whether through Elizabeth’s mind or through the voice of a narrator, the point of view is always and unmistakably Jane Austen’s.

It is always her sharply critical eye, youthful though it was when she wrote the novel, that observes and subtly comments on her society’s follies and foibles, making us laugh but also making us aware. When we finish her book we know very well the defects she saw in the people of her world, but we also know how much she enjoyed her life among them, faults and all. FORM AND STRUCTURE Like her writing style, the structure of Jane Austen’s novel is deceptively simple. She appears to be telling a straightforward story, character by character and happening by happening, exactly as it occurred in chronological sequence.

We can in fact read the novel that way. But on closer look we find that Pride and Prejudice is not merely a record of events. Instead, it is an interweaving of plot and subplots, an intricate pattern with various threads. The main plot follows the far from smooth course of the romance between Elizabeth and Darcy and the conflict of his pride and her prejudice. Their feelings, born of first impressions, are not the only obstacles between them. Three subplots complicate their relationship. The first is Bingley’s attraction to Jane Bennet and Darcy’s intervention to save his friend from what he sees as an undesirable marriage.

The second is Wickham’s involvement with the Darcy family, and his ability to charm Elizabeth and deepen her prejudice against Darcy. The third is Charlotte Lucas’ marriage to Mr. Collins, which throws Elizabeth and Darcy together and sharpens their differences. Elizabeth ends up rejecting Darcy in what we come to see as the first dramatic climax of the story. The Wickham subplot brings on the second dramatic climax: his elopement with Lydia and the scandal and probable ruin of the entire Bennet family. Austen maintains an air of suspense to the very end. She also keeps her three subplots alive with a novelist’s juggling skill.

In the end, all three subplots contribute to the resolution of the principal plot, and the hero and heroine come together in happiness at last Writing Style: In Pride and Prejudice there is very little focus on natural surroundings such as trees, bushes, flowers, or descriptions of the weather. Rarely does Austen describe character’s psychological states, instead this aspect of the characters is revealed through dialogue. The unnaturally flowery language in Pride and Prejudice may be seen by modern audiences as “cold” or “sterile,” but it is this use of language that helps to develop the characters and themes.

Exaggeration and hyperboles (in a melodramatic form) are also common writing styles of Austen. In terms of style conventions, the usage of “Miss” and “Mr. ” in Pride and Prejudice makes it at times unclear which character is talking, and therefore at times very confusing to follow the story. The frequent dialogue between characters also makes it difficult to distinguish which character is speaking. A number of plot points are also advanced in Pride and Prejudice through the writing of letters between essential characters, which tend to be some sort of monologue regarding a possible theme or conflict in the story.

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