Summary | Author | Commentary | Discussion Questions


Pride and Prejudice
Jane Austen, 1813
480 pp.

In Brief
This rich social commentary—Pride and Prejudice—is sometimes considered to be Jane Austen's finest novel*. It is certainly among her more famous ones. Austen sets her entertaining study of manners and misconceptions against the backdrop of a class-conscious society in 18th-century England.

Spirited, intelligent Elizabeth Bennet is alternately enchanted and affronted by Mr. Darcy. She is quick to suspend her usual, more rational judgment when it comes to him. She also is quick to believe the worst gossip about this haughty, opinionated man, who soon manages to alienate Elizabeth and her family. But is the condescending air that Mr. Darcy wars an indication of his real character? Or has Elizabeth's pride gotten in the way of her chance for true romance? (From the Norton Critical Editions .)

* Actually, Emma is her finest. (Molly@LitLovers)

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About the Author

• Birth—December 16, 1775
• Where—Steventon in Hampshire, UK
• Death—July 18, 1817
• Where—Winchester, Hampshire
• Education—taught at home by her father


In 1801, George Austen retired from the clergy, and Jane, Cassandra, and their parents took up residence in Bath, a fashionable town Jane liked far less than her native village. Jane seems to have written little during this period. When Mr. Austen died in 1805, the three women, Mrs. Austen and her daughters, moved first to Southampton and then, partly subsidized by Jane's brothers, occupied a house in Chawton, a village not unlike Jane's first home. There she began to work on writing and pursued publishing once more, leading to the anonymous publication of Sense and Sensibility in 1811 and Pride and Prejudice in 1813, to modestly good reviews.

Known for her cheerful, modest, and witty character, Jane Austen had a busy family and social life, but as far as we know very little direct romantic experience. There were early flirtations, a quickly retracted agreement to marry the wealthy brother of a friend, and a rumored short-lived attachment -- while she was traveling -- that has not been verified. Her last years were quiet and devoted to family, friends, and writing her final novels. In 1817 she had to interrupt work on her last and unfinished novel, Sanditon, because she fell ill. She died on July 18, 1817, in Winchester, where she had been taken for medical treatment. After her death, her novels Northanger Abbey and Persuasion were published, together with a biographical notice, due to the efforts of her brother Henry. Austen is buried in Winchester Cathedral.

Jane Austen's delightful, carefully wrought novels of manners remain surprisingly relevant, nearly 200 years after they were first published. Her novels—Pride and Prejudice and Emma among them—are those rare books that offer us a glimpse at the mores of a specific period while addressing the complexities of love, honor, and responsibility that still intrigue us today.

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Commentary
Despite the humor, there's serious stuff going on here. Austen pins her sights on society's mercenary marriage market. Poor Mrs. Bennett—she may be foolish, but she's not stupid. She understands quite well that ... Read more
LitLovers - LitPick August 2007



(The Following has been adapted from the Introduction to Mansfield Park in the Penguin Classics series.)

Pride and Prejudice has always been, since its publication in 1813, Austen's most popular novel. The story of a sparkling, irrepressible heroine, Elizabeth Bennet, the behavior of whose family leaves much to be desired, and Mr. Darcy, a very rich and seemingly rude young man who initially finds Elizabeth "tolerable, but not handsome enough to tempt me," is, in the words of the Penguin Classics edition editor Tony Tanner, a novel about how a man changes his manners and a woman changes her mind. Through the ages, its chief delights for readers have been its flawed but charming heroine ("I think [Elizabeth] as delightful a creature as ever appeared in print," Austen herself wrote to her sister, Cassandra); its humorous treatment of a serious subject; brilliant and witty dialogue laced with irony; a cast of humorous minor characters; and Austen's nearly magical development of a complex but believable love relationship between two complex people.

Critics have pointed to many ways in which Pride and Prejudice represents Austen's development and greater mastery of technique and artistry over Sense and Sensibility; perhaps the chief being that the conflict of the story is of the central characters' own making; and that a lively narrator more often appears to present material and to offer comment.

It is now almost exactly two centuries since the first two of Jane Austen's six completed novels - Sense and Sensibility and Pride and Prejudice - were published, and for much of that time writers and critics have passionately disagreed about the true caliber of her work. Austen's books received a few respectful reviews and lively attention from the reading public during her lifetime, but it wasn't until nearly thirty years after her death that some critics began to recognize her enduring artistic accomplishment--and others to debate it.

In 1843, the historian Thomas Macaulay called Austen the writer to "have approached nearest to the manner of the great master" Shakespeare; Charlotte Brontë felt, on the contrary, that "the Passions are perfectly unknown to her.... Jane Austen was a complete and most sensible lady, but a very incomplete, and rather insensible (not senseless) woman." Anthony Trollope made up his mind as a young man that "Pride and Prejudice was the best novel in the language," while Mark Twain claimed to feel an "animal repugnance" for Austen's writing.

Austen herself would probably not have disagreed with many of her detractors' objections. She acknowledged that her themes and concerns were limited; she described them as "human nature in the midland counties." "Three or four families in a country village is the very thing to work on," she wrote in a letter to her niece; and in another, now famous letter to her brother Edward, she described her art as "the little bit (two inches wide) of ivory on which I work with so fine a brush, as to produce little effect, after much labour."

It is true that great historical events and political concerns appear only obliquely, if at all, in the background of Austen's stories; that she deals with the spiritual condition of the human soul only insofar as it manifests itself in her characters' manners and taste in spouses; that the intellectual issues of her day appear in her novels primarily as a vehicle for revealing character and spoofing fashion. Even Austen's great early champion, the critic G. H. Lewes, had to admit the truth of Charlotte Brontë's objection that Austen's style lacked poetry, and that her "exquisite" work would appeal only to readers who didn't require "strong lights and shadows." But in spite of these limitations, the particular genius and lasting appeal of Austen's writing has only become clearer and more certain as the decades pass and literary fashions come and go.

What is Austen's particular genius? And what might account for the renaissance of popular interest in her work today--one reflected in the recently acclaimed television and feature film productions of Sense and Sensibility (with an Oscar-winning screenplay by Emma Thompson), Pride and Prejudice (an A&E miniseries), the art house hit Persuasion, and the upcoming release of Emma, as well as the Emma-inspired Clueless, now atop video rental charts.

"Of all great writers," Virginia Woolf said, "she is the most difficult to catch in the act of greatness." But perhaps Austen herself gave us a clue to the standards for greatness she set herself, and a way to judge her achievement, when in Northanger Abbey she has a character say: "'Oh! it is only a novel!' or, in short, only some work in which the most thorough knowledge of human nature, the happiest delineation of its varieties, the liveliest effusion of wit and humour are to be conveyed to the world in the best chosen language."

Austen's delightful wit is certainly one of the great pleasures of her work. As to "the best chosen language," while her writing conveys none of the lyricism of the Romantics (like Brontë) who would succeed her, it is full of intelligence and precisely crafted to convey its often subtle meaning. But Austen's strongest suit is her thorough knowledge and happy delineation of human nature. We can still, despite the vast differences between her society and our own, recognize ourselves in the ways her characters think and behave. We all know people as cleverly manipulative and outwardly affectionate as Lucy Steele or Miss Bingley; as self-involved as Fanny Dashwood or Lady Catherine de Bourgh; and as charming but as lacking in scruples as John Willoughby or Colonel Wickham. We are in turns impulsive and hyper-responsible like Marianne and Elinor Dashwood; conceal ourselves with arrogance like Mr. Darcy; assume we understand more than we do like Elizabeth Bennet; and revel in gossip, like Mrs. Jennings. And while the great events and philosophical movements of history play themselves out around us, it is our own nature and actions, and the nature and actions of the people around us, that most influence our lives.

In her own day, Austen's work signified a break with the Gothic and sentimental novels that had long been fashionable, in which heroines were always virtuous, romance was always sentimentalized, and unlikely but convenient coincidences and acts of God always occurred to bring about the dramatic climax. Instead Austen represented the ordinary world of men and women as it--sometimes mundanely--was, a place where love and romance were constrained by economics and human imperfection; where women had distinct and often sparkling personalities; where characters were never simply good or evil but more complicated amalgams, reflecting both their own moral nature and the virtues and failings of the families and society that shaped them.

In these ways, Austen seems very much in tune with today's sensibilities. We love her strong, unpretentious heroines ("Pictures of perfection as you know make me sick & wicked," Austen said of them), who think for themselves and say what they mean when appropriate and don't take themselves too seriously. They are not, in today's parlance, victims. We are as interested as ever in Austen's favorite subjects of love and marriage, while also identifying with her steadfast refusal to romanticize romance; with her acknowledgment that money, class, and what other people think matter in the real world; that marriage does not result in a happy ending for everyone; and that it is dangerous to let passion blind us to reality. Living amidst the cultural fallout from the self-absorbed, sensibility-prone 1960s, we appreciate Austen's emphasis on reason, moderation, fidelity, and consideration for others.

Austen wrote her books at the dawn of the nineteenth century, when vast social changes were already encroaching on the way of life she so loved and rendered with such exquisite artistry. We read her books today on the cusp of a new century, with an unfathomable world creeping up on us, too--one globally interconnected, technologically complex, economically uncertain. Perhaps we find on Austen's rural estates and in her charming, insular society the same peace and pleasure she found there; and an analogue for the simpler, more circumscribed world of our own childhoods, itself passing quickly away into history.

The time in which Jane Austen wrote her novels was a period of great stability just about to give way to a time of unimagined changes. At that time most of England's population (some thirteen million) were involved in rural and agricultural work: yet within another twenty years, the majority of Englishmen became urban dwellers involved with industry, and the great railway age had begun. Throughout the early years of the century the cities were growing at a great rate; the network of canals was completed, the main roads were being remade. Regency London, in particular, boomed and became, among other things, a great centre of fashion. On the other hand, England in the first decade of the nineteenth century was still predominantly a land of country towns and villages, a land of rural routines which were scarcely touched by the seven campaigns of the Peninsular War against Napoleon.

But if Austen's age was still predominantly one of rural quiet, it was also the age of the French Revolution, the War of American Independence, the start of the Industrial Revolution, and the first generation of the Romantic poets; and Jane Austen was certainly not unaware of what was going on in the world around her. She had two brothers in the Royal Navy and a cousin whose husband was guillotined in the Terror. And although her favourite prose writer was Dr. Samuel Johnson, she clearly knew the works of writers like Goethe, Worsdworth, Scott, Byron, Southey, Godwin and other, very definitely nineteenth-century, authors.

If Jane Austen seems to have lived a life of placid rural seclusion in north Hampshire, she was at the same time very aware of a whole range of new energies and impulses, new ideas and powers, which were changing or about to change England--and indeed the whole western world--with a violence, a suddenness, and a heedlessness, which would soon make Jane Austen's world seem as remote as the Elizabethan Age. It is well to remember that in the early years of the century, when Thomas Arnold saw his first train tearing through the Rugby countryside he said: "Feudality is gone forever." So close was it possible then to feel to the immemorial, static feudal way of life; so quickly was that way of life to vanish as the modern world laboured to be born.
Penguin Classics - Introduction to Mansfield Park

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Book Club Discussion Questions

1. Pride and Prejudice is probably Austen's most famous, most beloved book. One element, the initial mutual dislike of two people destined to love each other, has become a cliché of the Hollywood romance. I'm sure you can think of numerous examples.

This book has been described by scholars as a very conservative text. Did you find it so? What sort of position do you see it taking on the class system?

It has also been described as Austen's most idealistic book. What do you suppose is meant by that?

2. In 1814 Mary Russell Mitford wrote: "It is impossible not to feel in every line of Pride and Prejudice. . . the entire want of taste which could produce so pert, so worldly a heroine as the beloved of such a man as Darcy. . . Darcy should have married Jane."

Would you have liked the book as well if Jane were its heroine?

Have you ever seen a movie version in which the woman playing Jane was, as Austen imagined her, truly more beautiful than the woman playing Elizabeth?

Who doesn't love Elizabeth Bennet?!!

3. Two central characters in Austen have her own first name.

In Emma: Jane Fairfax is a decorous, talented, beautiful woman.

In Pride and Prejudice: Jane Bennet is everything lovely.

What do you make of that?

4. Lydia and Wickham pose a danger to the Bennet family as long as they are unmarried and unchecked. But as a married couple, with little improvement in their behavior, this danger vanishes.

In Pride and Prejudice marriage serves many functions. It is a romantic union, a financial merger, and a vehicle for social regulation. Scholar and writer Mary Poovey said that Austen's goal "is to make propriety and romantic desire absolutely congruent."

Think about all the marriages in the book with respect to how well they are fulfilling those functions.

Is marriage today still an institution of social regulation?

What about it would change if gay marriage were legally recognized?

5. Austen suggests that in order to marry well a woman must be pretty, respectable, and have money. In the world of Pride and Prejudice, which of these is most important? Spare a thought for some of the unmarried women in the book-Mary and Kitty Bennet, Miss de Bourgh, Miss Georgiana Darcy, poor, disappointed Caroline Bingley. Which of them do you picture marrying some day? Which of them do you picture marrying well?

6. Was Charlotte Lucas right to marry Reverend Collins?

7. What are your feelings about Mr. Bennet? Is he a good father? A good husband? A good man?

8. Darcy says that one of Wickham's motivations in his attempted elopement with Georgiana was revenge. What motivations might he have had for running off with Lydia? (Besides the obvious. . .)

9. Elizabeth Bennet says, ". . . people themselves alter so much, that there is something new to be observed in them for ever."

Do any of the characters in the book change substantially? Or do they, as Elizabeth says of Darcy, "in essentials" remain much as they ever were?

10. Elizabeth is furious with Darcy for breaking up the match between Jane and Mr. Bingley. Although he initially defends himself, she changes his mind. Later when Lady Catherine attempts to interfere in his own courtship, he describes this as unjustifiable.

Should you tell a friend if you think they're about to make a big mistake romantically?

Have you ever done so? How did that work out for you? (From Penguin Classics Series, pictured above.)