Mr. Darcy

Mr. Darcyis an intelligent, tall, fine, handsome, wealthy and reserved gentleman, who often appears haughty or proud to strangers. Mr. Darcy has a strong clean- animateness fibre and a natural and somewhat embarrassed kindness. Mr. Darcy is the owner of the fictional estate ofPemberley, he is described as the perfect landlord, a sensible and august 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 suck in such a good master.Mr. Darcys inflated personal vainglory, snobbish indifference and arrogance causes him to considerElizabeth Bennetas low-born and plain, tolerable and not handsome abundant to tempt him. How eer, afterwardswards he haves 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 stain of his repressed passion for Elizabeth . rob and prejudice Writing StyleSurprising Turns of Phrase, Sarcastic, Subtle, Pointed Austen is the total master of the slow, subtle burn. Its worry poe correct in motion you just watch as sentence after sentence starts out nice and predictable and then BAM right in the kisser. Lets watch and learn how a pro does it in this dissever that introduces Sir William Lucas, Charlottes 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 note 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 twain, he had outside 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 sizeableness, and, unshackled by business, occupy himself altogether in organism 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 spirit inoffensive, friendly, and obliging, his presentation at St. Jamess had made him courteous. (5. 1) First we go swimmingly a ache, as Sir William is shown to be a well-off guy who even gets to hand a actors line in front of the king. Then, though, check out the long third sentence, as the narrator asterfully goes from Sir Williams point of interpret (he now finds actually working for a living disgusting and moves to a house in the country) to an outside perspective on Sir Williams 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 needy from the shackles of his work and now just spends his time being civil).Funny but were not done yet. The problem isnt actual ly just that Sir William himself has become totally wearied 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 hes all fancy and epithetd, in the eyes of his neighbors he gets a fancier adjective to describe his behavior (instead of simply friendly hes 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 disdain as one theme and prejudice as the other(a)? Because there are many, many more themes to the text than that dont be led astray into thought process theyre the only ones (or the most important the novels gloss is somewhat arbitrary).One of my personal favourite ways Austen plays with delivery in P&P is how, once married, Charlotte Lucas is oft en lumped into colloquy 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 dont have to text to hand to find the exact quote). If youre looking for Irony, look carefully at practically anything Elizabeth records, 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 storys temperature by studying its tone. Is it hopeful? Cynical? Snarky? Playful? Ironic, arch, wry, full of witticisms and bon-mots, arms 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 amus ed by her characters and their ruff and also totally committed to discretely pointing out their foibles. Its not that she hates them or is disinterested or anything, but her narrator definitely keeps a distance and functions as an commentator 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 unretentive a time as Mr.Collinss long speeches would allow, everything was settled surrounded by 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 grip that could make a woman wish for its continuance and Miss Lucas, who accepted him solely from the arrant(a) 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, weve got the overhead view, meaning the narrator takes in the scene and shows us the ridiculous in all its glory its funny to try to picture just how not short Mr. Collinss long speech would be. Theres also that great joke in the appraisal that the proposal is settled to the satisfaction of both (because the satisfaction is kind of pragmatic since Charlotte is Mr.Collinss third choice and he is her choice only because hes got a job and a house and it beats living at mom and dads). Next, we get to laugh at Mr. Collins more from Charlottes point of view. Even though they arent 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. Finall y, we circle back around to the narrator bemock the characters again, as we check out how Charlotte is sacking to deal with the fact that she can see how lame Mr. Collins is. Answer shes going to wait as long as possible to actually get married. ) Whats Up With the Title? You know whats 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 endlessJohn Grisham novels. ) Thats because publishers are going for an if-you-liked-that-youll-also- mania-this approach. Pride and Prejudiceis 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 fix the big time with the blockbuster sales ofSense 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, withFirst Impressions, readers are right off the bat being shown things from the characters point of view.After all, its Darcy and Elizabeth that are going be to be qualification and having these impressions, and, this title suggests, were going to experience these impressions right alongside them. Also, think about what first impressions are all about people interacting with each other. A novel calledFirst Impressionsputs the idea of people meeting with and reacting to other people front and center. The counselling is on manners, behavior, and outward appearance. Not to mention, oftentimes first impression are wrong. On the other hand,Pride and Prejudiceturns the thing around 180 degrees.With a title like that, were no longer looking at things through the characters eyes. Instead, the title soun ds like someone is being called names and its up to the reader to try to figure out who is who. The reader isnt buddy-buddy with the characters any more, but is instead totally so-called to be all judgy and superior from the get-go. WithPride and Prejudiceas the title, our novel BFFs arent Darcy or Elizabeth at all. Instead, our main pal is the narrator, who knows ahead of time that someones full of pride and someone else is probably full of prejudice.Also, weve 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 Austens works, employs the communicatory technique offree indirect speech.This has been d efined as the free representation of a characters speech, by which one means, not words actually spoken by a character, but the words that typify the characters thoughts, or the way the character would think or speak, if she thought or spoke. 8By using annals that adopts the tone and vocabulary of a particular character (in this case, that of Elizabeth), Austen invites the reader to follow events from Elizabeths viewpoint, sharing her prejudices and misapprehensions. The learning curve, while undergone by both protagonists, is disclosed to us solely through Elizabeths point of view and her free indirect speech is essential for it is through it that we remain caught, if not stuck, within Elizabeths misprisions. . 8 Clear, Witty, Sarcastic In this dialogue-driven novel, wit and caustic remark predominate the text. Pride and Prejudice is often an exercise in reading between the lines, as Austens characters must almost always use civilized language to mask their true intentions. The greatest exception is, of course, when Elizabeth chews Darcy out after his proposal. ) Well offer two examples up for you. Mr. Bennets response to his wife after she subjects him to a play-by-play of Mr. Bingleys 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 Gods sake, say no more of his partners. O that he had sprained his ankle in the first place Mr. Bennet clearly doesnt mean these things. What hes really saying is that he wishes his wife would spare him the details.The following snippet of conversation betweenLady Catherineand Elizabeth takes place at the end of a long scrutiny 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 scantily expect me to own it. Lady Catherine seemed quite astonished at not receiving a direct ans wer 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 Catherines question, but does so in the politest way possible. We call itpolite resistance, and it requires a great deal of quick thinking. STYLE Jane Austens graceful, economical narrative style was unique in her time. It was an era in literature given to flowery periphrasis 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 consummate scenes have been lifted bodily from the novel and reproduced in dramatized versions for introduce and screen. In some passages the author enters into the mind of one or another of her characters, most often into her starine Elizabeths, and there she reveals her characters capacity for humor and self-criticism. Austens style is so misleadingly 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 impersonal 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 Elizabeths mind or through the voice of a narrator, the point of view is always and unmistakably Jane Austens.It is always her sharply critical eye, youthful though it was when she wrote the novel, that observes and subtly comments on her societys follies and foibles, making us lau gh 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. variate AND STRUCTURE Like her writing style, the structure of Jane Austens 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 squeeze 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 Bingleys attraction to Jane Bennet and Darcys treatment to save his friend from what he sees as an undesirable marriage.The second is Wickhams 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 novelists 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 th e weather. Rarely does Austen describe characters 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 uncontrollable 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.