Pride and Prejudice. Coursework: The image of the province in Jane Austen's novel Pride and Prejudice Pride and Prejudice author more works

Jane Austen novel

Pride and Prejudice A romantic novel of manners written by Jane Austen in 1813, the novel follows the development of the character Elizabeth Bennet, the book's dynamic hero who learns the consequences of hasty judgments and comes to appreciate the difference between superficial goodness and actual goodness. His humor lies in his honest description of morals, education, marriage, and money during the Regency era in Britain.

Mr Bennet of the Longbourn estate has five daughters, and his estate entails and can only be passed on to a male heir. His wife also did not inherit, so his family would be destitute after his death. In this case, it is necessary that at least one of the girls gets married well in order to support the others, which is the motivation that drives the plot. The new ones revolve around the importance of marrying for love rather than for money or social prestige, despite communal pressure to make a rich match.

Pride and Prejudice have consistently appeared at the top of "best-loved books" lists among literary scholars and the reading public. It has become one of the most popular novels in English literature, with over 20 million copies sold, and has inspired many derivatives in modern literature. For over a century, dramatic adaptations, reprints, unofficial sequels, film and television versions of Pride and Prejudice depict the novel's memorable symbols and themes, reaching a mass audience. 2005 film Pride and Prejudice is the most recent film adaptation that closely follows the book.

schedule summary

The novel is set in rural England in the early 19th century. Mrs. Bennet tries to persuade Mr. Bennet to visit Mr. Bingley, a wealthy bachelor who has recently arrived in the area. After some verbal sparring with her husband, Mrs. Bennet believes that he will not call on Mr. Bingley. Soon after he visited Netherfield, Mr. Bingley's rented residence, much to Mrs. Bennet's delight. The visit was followed by an invitation to a ball at the local assembly halls that the entire district would attend.

At the ball, Mr. Bingley's friendly and cheerful manner makes him popular among the guests. He develops an attraction to Jane Bennet (the eldest Bennet daughter), with whom he dances twice. Bingley's friend, Mr. Darcy, was reputed to be twice as rich, arrogant and aloof, resulting in an undeniable dislike of him. He refuses to dance with Elizabeth (the second eldest Bennet daughter), stating that she is not attractive enough to seduce him. Elizabeth finds this funny and jokes about it with her sisters.

Mr. Bingley's sister, Caroline, then invites Jane Netherfield to dinner. On the way there, Jane falls into a rain shower and develops a runny nose, forcing her to stay in Netherfield to recuperate. When Elizabeth goes to see Jane, Mr. Darcy finds himself becoming attracted to Elizabeth, while Miss Bingley grows jealous as she herself has designs on Mr. Darcy.

Mr Collins, cousin of Mr Bennet and heir to the Longbourn estate, visiting the Bennet family. He is a pompous, obsequious clergyman who intends to marry one of the Bennet girls. After learning that Jane might soon be studying, he quickly decides on Elizabeth, the next daughter of age and beauty.

Elizabeth and her family meet the dashing and charming officer George Wickham, who also singles out Elizabeth. He says that he is related to the Darcy family and claims that Mr. Darcy has deprived him of the profession (a permanent position as a clergyman in a prosperous parish with a good income) promised to him by Mr. Darcy's late father. Elizabeth's dislike of Mr. Darcy is confirmed.

At the Netherfield ball, Mr. Darcy asks Elizabeth to dance, and despite her vowing never to dance with him, she accepts. Apart from Jane and Elizabeth, several members of the Bennet family show a clear lack of decorum. Mrs. Bennet hints loudly that she fully expects Jane and Bingley to get engaged, and the younger Bennet sisters subject the family to ridicule for their stupidity.

Mr. Collins proposes to Elizabeth. She rejects him, her mother's rage and her father's relief. Shortly after this, Bingley suddenly leaves for London with no plans to return. After Elizabeth's refusal, Mr. Collins proposes to Charlotte Lucas, a sensible young woman and Elizabeth's friend. Charlotte, older (27), is grateful for the offer, which guarantees her a comfortable home. Elizabeth is stunned by such pragmatism in matters of love. Meanwhile, a heartbroken Jane visits her aunt and uncle Gardiner in London. It soon becomes clear that Miss Bingley has no intention of renewing their acquaintance, leaving Jane upset, although in the lineup.

In the spring, Elizabeth Charlotte and Mr. Collins visit in Kent. Elizabeth and her hosts invite Rosings Park, the imposing home of Lady Catherine de Bourgh, the imperious patron of Mr. Collins and the wealthy aunt of Mr. Darcy. Lady Catherine expects Mr. Darcy to marry her daughter, as planned by his childhood aunt and mother. Mr Darcy and his cousin, Colonel Fitzwilliam, also visiting Rosings Park. The Fitzwills tell Elizabeth how Mr. Darcy recently saved a friend, presumably Bink, from an unwanted match. Elizabeth realizes that Jane's engagement was interrupted and is horrified that Mr. Darcy interfered. Later, Mr. Darcy proposes to Elizabeth, declaring his love for her despite her inferior social rank. She rejects him angrily, declaring she could never love the man who caused her sister such misfortune and further accuses him of treating Wickham undeservedly. Mr. Darcy boasts about his success in separating Bingley and Jane, and suggests that he was kinder to Bingley than to himself. He dismisses the accusation against Wickham sarcastically, but does not resolve it.

Later, Mr. Darcy gives Elizabeth a letter, explaining that Vikhi, the son of his late father's clerk, he abandoned his living father arranged for him, and instead received money for it. The Vikhs quickly squandered the money and when they became poor, they asked for the living again. After being refused, he attempted to flee with Darcy's 15-year-old sister, Georgian, for her sizeable dowry. Mr. Darcy also writes that he separated Jane and Bingley because, due to Jane's reserved behavior, he sincerely believed her to be indifferent to Bingley, and also because of the lack of appropriateness of other members of his family.

Elizabeth is told by her father that Darcy was responsible for bringing Lydia and Wickham together, one of the two earliest illustrations Pride and Prejudice. Dress styles reflect the time the illustration was engraved (1830), not the time in which the novel was written or set.

A few months later, Elizabeth accompanies Gardiner on an excursion to Derbyshire. They visit Pemberley, Darcy's estate (after Elizabeth ascertains Mr. Darcy's absence). The housekeeper there describes Mr. Darcy as kind and generous, listing several examples of these characteristics. When Mr. Darcy returns unexpectedly, he is extremely kind and then invites Elizabeth and the Gardiners to meet their sister and Mr. Gardiner to go fishing. Elizabeth was surprised and delighted by their treatment. She then receives news that her sister Lydia has run away with Wickham. She tells Mr. Darcy at once and then leaves in a hurry, believing that she will never see him again, just as Lydia ruined the family's good name.

After a painful interim, Wickham agreed to marry Lydia. With some veneer of decency restored, Lydia visits the family and tells Elizabeth that Mr. Darcy is attending her and Wickham's wedding. Although Mr. Darcy has sworn everyone involved to the secret, Mrs. Gardiner now considers it necessary to inform Elizabeth that he secured the match, at great expense and trouble for himself. She hints that he may have had "another motive" for what he did, meaning that she believes Darcy to be in love with Elizabeth.

Mr. Bingley and Mr. Darcy return to Netherfield. Bingley proposes to Jane, who accepts. Lady Catherine, having heard rumors that Elizabeth intends to marry Mr. Darcy, visited Elizabeth and demanded she promise never to accept Mr. Darcy's proposal. Elizabeth refuses and Lady Catherine is indignant. Darcy, inspired by Elizabeth's indignant retranslation of her aunt's answers, again invites her and is accepted. Elizabeth has difficulty convincing her father that she is marrying for love, not status and wealth, but Mr. Bennet is finally convinced. The novel ends with a review of the marriages of the three daughters and the great satisfaction of both parents in the small, happy matches made by Jane and Elizabeth.

Characters

• Elizabeth Bennett- The second eldest of the Bennett daughters, she is twenty years old and intelligent, lively, playful, attractive and witty - but with a tendency to form tenacious and influential first impressions. As the story progresses, so does her relationship with Mr. Darcy. The course of Elizabeth and Darcy's relationship ultimately decided when Darcy overcomes her pride and Elizabeth overcomes her prejudice, leading them both to surrender their love to each other.
• Mr. Fitzwilliam Darcy- a friend of Mr. Bingley and the rich, the twenty-eight-year-old owner of the family estate of Pemberley in Derbyshire, rumored to be worth at least £10,000 a year (equivalent to £796,000 or $1,045,000 in 2018). While he is handsome, tall, and intelligent, Darcy lacks ease and social graces, and so others often mistake his initially arrogant reserve and rightly present evidence of excessive pride (which, in particular, she has). A new visitor to the village, he ultimately falls in love with Elizabeth Bennet.
• Mr Bennet- Late middle age landed gentleman of a modest income of £2,000 a year, and the dryly sarcastic patriarch of the now dwindling Bennet family (a family of Hertfordshire landowners), with five unmarried daughters. His property, Longbourn, this entails in the male line.
• Mrs Bennet (née Gardiner)- a middle-aged wife from her social superior, Mr. Bennet, and the mother of five daughters. Mrs. Bennett is a hypochondriac who imagines herself susceptible to attacks of tremors and palpitations (her "bad nerves") whenever things don't go her way. Her main goal in life is to marry her daughter to wealthy men. Whether or not any such matches would give her daughter happiness was of little concern to her.

In a letter to Cassandra dated May 1813, Jane Austen describes a painting she saw in a gallery that was a good likeness of "Mrs. Bingley" - Jane Bennet. Deirdre Le Faye at World Her duology suggests that "Portrait of Mrs. Q-" is the painting Austen had in mind. (pp. 201-203)

• Jane Bennet- Bennett's elder sister. Twenty-two years old when the novel begins, she is considered the most beautiful young lady in the neighborhood and tends to see only the good in others (but can be convinced otherwise on sufficient evidence). She falls in love with Charles Bingley, a wealthy young gentleman who has recently moved to Hertfordshire and is a close friend of Mr. Darcy.
• Mary Bennett- the middle Bennet sister, and the simplest of her brothers and sisters. Mary has a serious attitude and mostly reads and plays music, although she is often impatient to show off her achievements and is quite vain about them. She often moralises towards her family. According to James Edward Austen-Lee in memoirs of Jane Austen Mary eventually married one of her uncle Philips' law clerks and moved to Meryton with him.
• Katherine "Kitty" Bennett- fourth Bennett daughter at 17 years old. Although Lydia is older, she is her shadow and follows in her pursuit of the police officers. She is often portrayed as jealous of Lydia and has described the young woman as "stupid". However, she says that she has improved when she moves away from Lydia's influence. According to James Edward Austen-Lee in memoirs of Jane Austen Kitty later married a priest who lived near Pemberley.
• Lydia Bennett- Bennett's younger sister, aged 15 when the novel begins. She is frivolous and stubborn. Her main activity in life is communication, especially flirting with police officers. This leads to her falling out with George Wickham, although he has no intention of marrying her. Lydia shows no regard for her society's moral code; as Ashley Tauchert says, she "feels without reasoning."
• Charles Bingley- a handsome, amiable, wealthy young gentleman from the north of England (possibly Yorkshire, Scarborough is mentioned, and there is, in fact, a real life town called Bingley in West Yorkshire) who rents Netherfield Park, a property three miles from Longbourn , with hopes of purchasing it. He is contrasted with Mr. Darcy for having a more generally pleasing manner, although he depends on his more experienced friend for advice. An example of this is the prevention of Bingley and Jane's romance due to Bingley's undeniable addiction in Darcy's opinion. He lacks determination and is easily influenced by others; His two sisters, Miss Caroline Bingley and Mrs Louisa Hurst, do not approve of Bingley's growing affection for Miss Jane Bennet.
• Caroline Bingley- the vain, pretentious sister of Charles Bingley, with a fortune of £20,000 (giving her an allowance/pin money of £1,000 a year). Miss Bingley harbors designs on Mr. Darcy, and is therefore jealous of his growing affection for Elizabeth. She tries to dissuade Mr. Darcy from loving Elizabeth by ridiculing the Bennet family and criticizing Elizabeth's behavior. Miss Bingley also disapproves of her brother's dignity to Jane Bennet, and is disdainful of society at Meryton. Her wealth (which she overspends) and her expensive education seem to be Miss Bingley's two greatest sources of vanity and conceit; Moreover, she is very insecure about the fact that her and her family's money all comes from trade, and seeks both for her brother to acquire property dating back to Bingley in the ranks of the Gentry, and for herself to marry a landowner (then there is Mr. Darcy). The dynamic between Miss Bingley and her sister, Louisa Hurst, seems to echo that of Lydia and Kitty Bennet and Mrs. Bennet and Mrs. Philips; that one is no more than a follower of the other, with Caroline in the same position as Lydia and Mrs. Bennet, and Louisa in Kitty and Mrs. Phillips (though, in Louisa's case, since she is already married, she is not under the same despair like Caroline). Louisa married Mr. Hurst, who has a house in Grosvenor Square in London.
• George Wickham- Wickham knew Mr. Darcy from childhood, being the son of Mr. Darcy's father's clerk. A police officer, he is outwardly charming and quickly forms an attachment with Elizabeth Bennet. He later runs away with Lydia without the intention of marriage, which would lead to her and his family's complete disgrace, but for Darcy's intervention to bribe Wickham to marry her by paying his immediate debts.
• Mr William Collins- Mr Collins, aged 25 as the novel begins, is Mr Bennet's distant second cousin, a clergyman, and current heir to his estate of Longbourn House. He is an obsequious and pompous man who is too devoted to his patron, Lady Catherine de Bourgh.
• Lady Catherine de Bourgh- Mr. Darcy's domineering aunt. Lady Catherine is the wealthy owner of Rosings Park, where she resides with her daughter Anne and has ingratiated herself with its rector, Mr Collins. She is pompous, domineering, and condescending, and has long planned to woo her sickly daughter Darcy in order to "unite their two great estates", claiming it will be the dearest wish of her and her late sister, Lady Anne Darcy (née Fitzwilliam).
• Mr Edward and Mrs Gardiner M- Edward Gardiner is Mrs. Bennet's brother and a successful merchant of sensual and gentlemanly character. Aunt Gardiner is noble and elegant, and close to her nieces Jane and Elizabeth. The Gardiners play an important role in securing the marriage between Darcy and Elizabeth.
• Georgian Darcy- Mr. Darcy's quiet Georgian, amiable (and shy) younger sister, with a dowry of £30,000 (giving her an allowance/pin money of £2,500 a year), and aged barely 16 when the story begins. When still 15, Miss Darcy almost eloped with Mr. Wickham, but was saved by her brother, whom she idolizes. Thanks to years of tutelage under masters, she practiced the piano, singing, playing the harp, and drawing, and modern languages, and is therefore described as Caroline Bingley's idea of ​​the "complete woman".
• Charlotte Lucas- Elizabeth's friend Charlotte, who is 27 years old (and thus very much past what was then considered the prime marriageable age), is afraid of becoming a burden to her family, and so agrees to marry Mr. Collins in order to gain financial security. Although the novel emphasizes the importance of love and understanding in marriage, Austen never seems to condemn Charlotte's decision to marry for money. She uses Charlotte to convey how women of her time would adhere to society's expectations for women to marry, even if it was not out of love but convenience. Charlotte, daughter of Sir William Lucas and Lady Lucas, neighbors of the Bennet family.
• Colonel Fitzwilliam- Colonel Fitzwilly is the youngest son of the Earl, and nephew of Lady Catherine de Bourgh and Lady Anne Darcy; this makes him his cousin Anne de Bourgh and his brothers Darcy, Fitzwilliam and Georgiana. He is about 30 years old at the beginning of the novel. He is Miss Georgiana Darcy's co-guardian, along with his cousin, Mr Darcy. According to Colonel Fitzwilliam, as the youngest son, he could not marry without thought to his prospective bride's dowry; Elizabeth Bennett joked that, as the son of an earl, Colonel Fitzwillia would not be able to decide for a bride with a dowry lower than £50,000 (what escapes is that Colonel Fitzwillia's living allowance is around £2500 per year).

A comprehensive web showing the relationships between the main characters in Pride and Prejudice

Main topics

Many critics take the title from the very beginning when analyzing the topic Pride and Prejudice But, Robert Fox cautions against reading too much into the title, because commercial factors may play a role in his choice. "After success Reason and feelings, nothing would seem more natural than to bring another novel by the same author, again using the formula of antithesis and alliteration for the title. The quality of the title is not only attributed to one or the other of the main characters, like Elizabeth and Darcy displaying Pride and Prejudice." The phrase "Pride and Prejudice" had been used during the previous two centuries by Joseph Hall, Jeremy Taylor, Joseph Addison and Samuel Johnson. Austen probably took its name from a passage in Fanny Burney's Cecilia(1782), a popular novel she was known to admire:

“This whole miserable business,” said Dr. Lyster, was the result of Pride and Prejudice. [...]if to Pride and Prejudice you owe your misfortunes, so wonderfully are good and evil balanced, that to Pride and Prejudice you also owe their cessation. (Capitalization, as in the original)

A theme in much of Austen's work is the importance of environment and nurture in the development of the character and morals of youth. Social status and wealth are not necessarily advantages in her world and another theme common to Austen's work is ineffective parents. IN Pride and Prejudice, the abandonment of Mr. and Mrs. Bennet is blamed by the parents for Lydia's lack of moral judgment. Darcy has been taught to be principled and scrupulously honorable, but he is also proud and domineering. Kitty escaping Lydia's bad influence and spending more time with her older sister after they marry is said to greatly improve their high society. American writer Anna Quindlen observes in the preface to the 1995 edition of Austen's novel:

Pride and Prejudice also about those things that all great novels consider the search for oneself. And this is the first great novel that teaches us this quest, as, of course, it is carried out in the living room making small talk, as in the pursuit of the great white whale or the public punishment for adultery.

Marriage

The novel's opening line famously declares: "It is a truth universally acknowledged that one man in possession of fortune must be without a wife." This establishes marriage as a motif and problem in the novel. Readers are prepared to question whether these single men need a wife, or if the need is dictated by "neighboring" families and their daughters who demand "good condition."

Marriage is a complex social activity that takes political economy and the economy in general into account. In the case of Charlotte Lucas, the apparent success of her marriage lies in the comfortable financial conditions of their household, while the relationship between Mr. and Mrs. Bennet serves to illustrate bad marriages based on initial attraction and the surface of the substance (economic and psychological) of the marriage. Bennet is an example of how the youngest Bennet, Lydia, re-legislates with Wickham and the results are far from happy. Although the central characters, Elizabeth and Darcy, begin the romance as hostile acquaintances and friends, they ultimately work toward a better understanding of themselves and each other that frees them to truly fall in love. This does not exclude the problem of real differences in their technically equivalent social status as gentlemen and their female relatives. It does however provide them with a better understanding of each other's point of view from different ends of the rather wide scale of differences within the category.

When Elizabeth rejects Darcy's first proposal, the argument of marrying for love is introduced. Elizabeth only accepts Darcy's proposal when she is sure that she loves him, and her feeling is reciprocated. Osten's complex sketching of various marriages ultimately allows the reader to question what forms of union are desirable, especially when it comes to giving economic, sexual, and friendly attractions.

wealth

Money plays a fundamental role in the marriage market, for a young lady looking for a wealthy husband and for men who want to marry a woman of means. George Wickham tried to escape with Georgiana Darcy, and Colonel Fitzwilliam was married to money. Marrying a woman of a wealthy family also provided a connection with high family, as seen in Bingley's sister's wishes for their brother to marry Georgiana Darcy. Mrs. Bennet was often seen encouraging her daughters to marry a wealthy man of high social class. In Chapter 1, when Mr. Bingley arrives, she states, "I mean him marrying one of them."

Inheritance was by descent, but could be further limited by succession, which would limit the inheritance to only male heirs. In the case of the Bennet family, Mr. Collins was supposed to inherit the family estate after Mr. Bennet's death and his offer to Elizabeth would ensure her safety, but she refuses his offer. Inheritance laws benefited men because most women did not have independent legal rights until the second half of the 19th century and women's financial security did not depend on men. For the upper middle and aristocratic classes, marriage to a man with a reliable income was almost the only path to security for a woman and children she had to have. The irony of the opening line is that in general in this society there would be a woman who would look for a rich husband in order to have a wealthy life.

Class

Austen may be famous now for her "romances" but marriages in her novels deal with economics and class differences. Pride and Prejudice hardly an exception. When Darcy proposes to Elizabeth, he cites his economic and social differences as an obstacle his excessive love had to overcome, although he remains anxiously harp at the challenges he poses to himself within his social circle. His aunt, Lady Catherine, later characterizes these differences in particularly difficult terms when she conveys what Elizabeth Darcy's marriage would become, "Will the shades of Pemberley be thus soiled?" Although Elizabeth responds to Lady Catherine's accusations that hers is a potentially polluting economic and social position (Elizabeth even insists that she and Darcy, as the daughter of a gentleman and a nobleman, are "equals"), Lady Catherine refuses to accept Darcy's actual marriage to Elizabeth even as new ones are closing.

Bingley presents a particular challenge for class navigation. Although Caroline Bingley and Mrs. Hurst behave and talk about others as if they had always belonged to the upper echelons of society, Austen makes a point to explain that the Bingleys are tradesmen and not inherited and rentiers. The fact that Bingley rents Netherfield Hall - it is, after all, "allow" - is significant from Darcy, whose estate belonged to his father's family and, through his mother, distinguishes him, grandson and nephew from the Earl. Bink, unlike Darcy, does not own his property, but has portable and growing wealth, which makes him a good catch in the marriage market for the poor daughters of nobles like Jane Bennet, ambitious deficits (merchants), etc. Class plays a central role in the evolution of the characters and Jane Austen's radical approach to class is seen as a development of the plot.

There is an undercurrent of the old Anglo-Norman upper class hinted at in history, as it was suggested by the names of Fitzwilliam Darcy and his aunt, Lady Catherine de Bourgh; Fitzwilliam , D'Arsite , de Burgh (Burke), and even Bennett, a traditional Norman surname.

Self-knowledge

Through their interactions and their criticism of each other, Darcy and Elizabeth began to admit their mistakes and work to correct them. Elizabeth meditates on her own mistakes carefully in chapter 36:

“How vilely I acted!” she exclaimed; “I who prided myself on my insight! I who value myself on my abilities! Who are often disdainful of my sister's generous frankness, and the satisfaction of my useless vanity or punishable mistrust. How humiliating is this discovery! What a simple humiliation! If I were in love, I could not be more wretchedly blind. But vanity, not love, was my folly. Pleased by the preference of one, and offended by the neglect of the other, at the very beginning of our acquaintance, I courted prejudice and ignorance, and the reason given was far away, where either were concerned. Until this moment I never knew myself."

Other characters rarely demonstrate this depth of understanding, or at least do not give space in the novel for such development. Tanner writes that Mrs. Bennet in particular “has a very limited understanding of the demands of this activity; Lacking any introspective tendencies, she is unable to appreciate the feelings of other people and knows only material objects." Mrs. Bennet's behavior reflects the society she lives in, as she knows that her daughters will not be successful unless they get married. "It was her life's work to get her daughters married: The news also came as her consolation.” This shows that Mrs. Bennet is only aware of “material objects” and not of her feelings and emotions.

Style

Pride and Prejudice, like most of Austin's works, use the narrative technique of free indirect speech, which has been defined as "the free presentation of a character's speech, by which one means, not words, actually speaks the character, but the words, the prototype of the character's thoughts, or something how the character will think or speak if she thinks or speaks.” Austen creates his characters with fully developed personalities and unique voices. Although Darcy and Elizabeth are very similar, they are also significantly different. By using a narrative that takes on the tone and vocabulary of a particular character (in this case, Elizabeth), Austen invites the reader to follow events from Elizabeth's point of view, sharing her prejudices and misunderstandings. "The learning curve experienced by both main characters at the time is revealed to us only through Elizabeth's point of view and her free indirect speech is important... for it is through it that we are still caught, if not stuck, in Elizabeth's misprisions." Several times the reader is allowed to gain additional knowledge of another character's feelings through a letter exchanged in this novel. Darcy's first letter to Elizabeth is an example of this, as through his letter, the reader and Elizabeth are both given knowledge of Wickham's true character. Austen is famous for the use of irony throughout the novel, especially in terms of the character of Elizabeth Bennet. She conveys "the repressive rules of femininity that virtually dominate her life and work, and is covered by her beautifully carved Trojan ironic distance." Beginning with a historical study of the development of a particular literary form and then moving into empirical testing, he shows Free Indirect Speech as a tool that arose over time as a practical means of dealing with the physical distinctness of the mind. From this point of view, free indirect speech is a distinctly literary response to environmental concerns, providing a scientific rationale that does not diminish the literature of the mechanical extension of biology, but has its own value in being its own original form.

Development of the novel

Austin began writing the novel after a stay at Goodnestone Park in Kent with his brother Edward and his wife in 1796. It was originally titled First Impressions, and was written between October 1796 and August 1797. On November 1, 1797, Father Austen sent a letter to the London bookseller Thomas Cadell to ask whether he was interested in seeing the manuscript, but the offer was rejected by return post. The militia were mobilized following the French declaration of war on Great Britain in February 1793, and there was initially a lack of barracks for all militia regiments, requiring the militia to establish huge encampments in the countryside, which the novel refers to several times. Brighton camp, for which the militia regiment departed in May after spending the winter at Meryton, was opened in August 1793, and barracks for all militia regiments were completed by 1796, placing the events of the novel between 1793 and 1795.

Austin made significant changes to the manuscript First impressions between 1811 and 1812. As nothing remains of the original manuscript, we reduce it to a hypothesis. Due to the large number of letters in the ending of the novel, it is assumed that first impressions was an epistolary novel. Later it was renamed to history Pride and Prejudice around 1811/1812 she sold the rights to publish Austen's manuscript and sold the copyright to Thomas Eggerton's novel from the Military Library, Whitehall in exchange for £110 (Austen asked for £150). This turned out to be an expensive decision. Austin posted Mind and Feelings on a basis whereby it indemnified the publisher against any losses and made a profit, less expenses and publisher's commission. Without knowing that Mind and Feelings will sell her edition, making it £140, she has transferred the copyright to Egerton for a one-off payment, meaning all the risk (and all the profit) will be his. Jan Fergus estimates that Egerton subsequently made around £450 from just the first two editions of the book.

Egerton published the first edition Pride and Prejudice in three hardcover volumes on January 28, 1813. It was announced in The Morning Chronicle rated at 18s. Favorable reviews saw this edition sell out, with a second edition published in October the same year. The third edition was published in 1817.

Foreign language translation first appeared in 1813 in French; subsequent translations were published in German, Danish and Swedish. Pride and Prejudice were first published in the United States in August 1832 as Elizabeth Bennet or, Pride and Prejudice. The novel was also included in Richard Bentley's Standard Novel series in RW Chapman's 1833 scientific edition Pride and Prejudice, first published in 1923, has become the standard version on which many modern published versions of the novel are based.

The novel was originally published anonymously, as are all Austen novels. However, while her first novel was published, Mind and Feelings was introduced as spelled "lady," Pride and Prejudice was attributed to "Author Mind and Feelings" This began to consolidate the concept of Austen as an author, albeit anonymously. Her subsequent novels were also attributed to the anonymous author of all her then published works.

Ost, for his part, thought “playfulness and epigrammaticism” from Pride and Prejudice were excessive, complaining in a letter to his sister Cassandra in 1813 that the novel lacked "shadow" and was supposed to be a chapter of "solemn specious nonsense, about something unrelated to history; essays on letters, criticism on Walter Scott or histories of Bounaparté."

Walter Scott "Read again and for the third time, at least, Miss Austen's very finely written novel Pride and Prejudice.." wrote in his journal

20th century

You couldn't shock her more than she shocks me
Next to her, Joyce seems as innocent as grass.
It makes me the most uncomfortable to see
middle class English girl
Describe the amorous effects of "brass",
reveals so frankly and with such sobriety
economic basis of society.

American scholar Claudia Johnson defended the novel against criticism that it had an unrealistic, fairy-tale quality. One critic, Mary Poavi, writes a "romantic conclusion" from Pride and Prejudice attempts to hedge against the conflict between the “individualistic point of view inherent in the bourgeois value system And held back from a traditional paternalistic society by an authoritarian hierarchy.” Johnson writes that Austen's view of a power structure capable of reform was not an "escape" from conflict. Johnson's writing of the "outrageous oddities" of Elizabeth Bennet was in Austen's own time very impudent, especially considering that strict censorship had been introduced in Britain by Prime Minister William Pitt, in the 1790s when Austen wrote Pride and Prejudice stars Claire Moore as Elizabeth Bennet and Peter Kari as Mr. Darcy. New production stage, . Beth Patillo

In Gwin Kredi's comedic romance novel, seducing Mr Darcy, heroine of the earth Pride and Prejudice Along the way, he uses massage magic, has an affair with Darcy, and unknowingly changes the rest of the story.

Abigail Reynolds is the author of seven Regency planted variations Pride and Prejudice. Her Pemberley Variations series includes Mr Darcy's Obsession , conquer Mr Darcy , What would Mr. Darcy Do And Mr. Fitzwilliam Darcy: The Last Man in the World. Its modern adaptation, The Man Who Loved Pride and Prejudice, is installed on Cape Cod.

Bella Breen in hordes,

Marvel also published their take on this classic, releasing a short five-issue comic series that stayed true to the original storyline. The first issue was published on April 1, 2009 and was written by Nancy Hajeski. It was published as a graphic novel in 2010 with art by Hugo Petrus.

Pamela Aidan is the author of a trilogy of books telling the story Pride and Prejudice from Mr. Darcy's point of view: Fitzwilliam Darcy, Gentleman. These books assembly ones like this one , duty and desire, And these three remain .

Detective story author PD James wrote a book called Death Comes at Pemberley, which is a murder mystery set six years after Elizabeth and Darcy's marriage.

In the novel, eligible, Curtis Sittenfeld sets icons Pride and Prejudice in modern-day Cincinnati, where Bennett's parents are former Cincinnati social climbers who have fallen on hard times. Elizabeth, a successful and independent journalist in New York, and her single older sister Jane must intervene to save the family's financial situation and get their unemployed adult sister to get out of the house and move on in life. In the process, they encounter Chip Bingley, a young doctor and reluctant reality TV star, and his medical classmate, Fitzwilliam Darcy, a cynical neurosurgeon.

Pride and Prejudice also inspired works of scientific writing. In 2010, scientists named the pheromone identified in male mouse urine darcin, after Mr. Darcy, because she is very attractive to females. In 2016, a scientific article published in the journal Hereditary Metabolic Diseases suggested that Mrs. Bennet may be a carrier of a rare genetic disease, explaining why the Bennets had no sons and why some of the Bennet sisters are so stupid.

In the summer of 2014, Manga Classic Line Udon Entertainment published a manga adaptation Pride and Prejudice .

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Pride and Prejudice is Jane Austen's most popular novel, known to millions of readers around the world. The critical literature devoted to its analysis is also enormous. Among the authors of books and articles are such famous literary scholars as D. Cecil, M. Butler, A. Brown, M. Masefield, M. Kennedy, J. Kaestner, N.M. Demurova, T.A. Amelina and many others.

D. Cecil believes that Jane Austen correlates her heroes with three basic standards of behavior: virtue, common sense and taste. Virtue is perceived in its Christian interpretation. Common sense refers to the desire to achieve something better in this inevitably imperfect world. Jane Austen believed that what a person lives for is more important than how he lives. Culture and the external signs of its manifestation can make a person’s existence much happier. D. Cecil, therefore, believes that the ideal of Jane Austen is a person who is not only virtuous and prudent, but also well-mannered.

M. Masefield, among the most important problems of the novel, highlights D. Austen's desire to ridicule and condemn snobbery, especially its extremes, embodied in the image of Lady Catherine de Bourg. M. Masefield believes that the genre specificity of this novel is determined by the combination of comedy with the romance genre, where an unusually attractive heroine rises above all the characters. J. Kaestner considers it a great success, a sign of the writer’s increased skill, that her secondary characters become more defined, clear, and more accurately written out.

N.M. Demurova noted that Jane Austen significantly expanded and enriched the method of “humors” characteristic of classicism, abandoning the division of heroes into villains, victims and reasoners. Having thus noted Austen’s characteristic realistic vision of characters, N.M. Demurova showed how it is embodied in the novel at the stylistic level. She, for example, believes that one of J. Austen’s innovative techniques was the use of improperly direct speech. A very significant feature of Jane Austen’s poetics was noticed by T.A. Amelina. She writes: “The artist reveals the human essence mainly through the depiction of verbal communication between people, that is, direct and dialogical speech.”

Thus, critics, when characterizing the characters in the novel, pay attention to the social motivation of the characters’ behavior and relationships and pay considerable attention to the stylistic techniques that Jane Austen used, but the mechanism of operation of these techniques needs a more specific and detailed consideration.

Analysis of the means used by the writer to create images of her characters is the main task of this article. Its solution will determine the nature of Jane Austen's ethical and aesthetic ideal.

All plot lines of the novel converge around the two main characters Elizabeth Bennet and Darcy. The initial opinion about them may be largely influenced by the title of the novel “Pride and Prejudice.” That is, it may seem that each of them embodies one of these traits: Darcy - pride, Elizabeth - prejudice against him - a rich, arrogant man, accustomed to the servility of others. In reality, each of them is equally characterized by pride and long-term prejudice against each other.

The character of Elizabeth Bennet is revealed gradually through the complex system of relationships of the heroine with her parents, sisters, friends, with those who wish her happiness and her ill-wishers, and finally, with those men who were candidates for her hand. Despite the impersonality of the narrative, the author’s attitude towards her expresses itself in what traits of her character stand out first of all: a sense of humor, a lively, cheerful disposition. Having heard Darcy’s first, unflattering opinion of her, Elizabeth “told the story, however, with great spirit among her friends; for she had a lively, playful disposition which delighted in anything ridiculous” Here the epithets lively (full of life and spirit), playful (full of fun, fond of play) to the noun disposition (one's nature or temper) perform a characterological function. Their positive connotations are an indirect confirmation of the author's approving attitude towards the heroine. In Elizabeth's speech part, the words “laugh, laugh” actually appear many times: “I dearly love a laugh... Follies and nonsense, whims and inconsistencies, do divert me, I own, and I laugh at them whenever I can,” she says about herself.

But in Elizabeth's character there was no frivolity, a thoughtless pursuit of entertainment, characteristic of her younger sister Lydia. Her mindset can be called analytical. She thinks a lot and seriously, observing the morals of the people around her. The monotony and monotony of the family's daily life made any trip that promised a change of impressions, the opportunity to meet new people, so desirable. So, the offer of her aunt, Mrs. Gardiner, to go with them on a big trip, perhaps to the romantic Lake District, causes outright delight (“What delight! What felicity!”).

In the composition of “Pride and Prejudice,” the chronotope of the road not only contributes to the development of the plot, enlivening it with new events and characters. Its main function here is to show the evolution of the characters of the main characters, the gradual development of the relationship between them. So, during Elizabeth's trip to the Collinses, Darcy's first explanation with her occurs. During a trip with her aunt, her fate is decided: after visiting Darcy's house, she begins to change her opinion about him, gets rid of prejudice against him, and begins to understand that she could love him.

But no matter how much the reader learns about the heroine through the author’s comments and characteristics, the main thing is that Elizabeth herself speaks about herself. This main thing is never mentioned, but it is present in her every action and every remark. This is the main thing - pride, or rather self-esteem and real fearlessness. Elizabeth herself is not rich; after the death of her father, they may be deprived of their house, the owner of which will be Reverend Collins. Under such circumstances, not getting married means dooming yourself to a miserable existence. It would seem that one should rejoice at Collins's proposal, but Elizabeth indignantly rejects it. Her reaction to Darcy's proposal may seem even more incredible. A rich, powerful man, with whom marriage is the pipe dream of many brides, proposes to her, Elizabeth Bennet. Instead of accepting such a flattering offer, Elizabeth, in the harshest form, accuses Darcy of humiliating her dignity, insulting her sister, and insulting Wickham. In order to become her chosen one, it is not enough to occupy a high position in society; it is much more important to always behave as befits a noble person. Time must pass before Elizabeth can better understand Darcy’s character and appreciate his merits.

Darcy also has his own pride. As soon as he appears on the pages of the novel, all the characters and readers become aware of the amount of his income - 10,000 pounds a year, a colossal amount for that time. He immediately makes a certain impression on those around him: a proud, arrogant person. And although he himself, trying to explain his behavior, talks about his isolation and inability to easily get along with people, Elizabeth is not convinced. The fact is that almost simultaneously with Darcy, Wickham is introduced into the cast of characters, acting as Darcy’s antipode. If no one hears almost a word from Darcy, then Wickham easily enters into conversation. He has a pleasant, attractive appearance, and he knows how to be a very entertaining conversationalist. Having barely met Elizabeth, he tells her the story of his life, in which Darcy played the most unseemly role, in his words. Thus, all circumstances are not in Darcy’s favor, and the further development of the plot seems unpredictable. The rebuke that Elizabeth gives to Darcy should seem to mark the end of their acquaintance. But the main plot intrigue lies precisely in the fact that Elizabeth’s refusal only gives impetus to a new development in their relationship.

The refusal Darcy received was a difficult test for his pride. A man of an aristocratic upbringing, he did not betray the feelings raging within him. Given his restraint, the most natural way of expressing emotions was not direct dialogue with his chosen one, but correspondence with her.

The development of Elizabeth's feelings for Darcy appears before the reader in all its complexity and inconsistency: from hostility to doubts, then to regret about her judgments about him, finally to admiration, to the understanding that meeting him is the main event of her life. The complexity of the heroine’s emotional experiences is also matched by a complex system of stylistic means of expression. Here is the author's commentary, which conveys to the reader the confusion of her feelings (a flutter of spirits). Here are details of the interior and landscape that allow Elizabeth to see Darcy in a new light: “She had never seen a place for which nature had done more, or where natural beauty had been so little counteracted by an awkward taste.” The feeling that gripped Elizabeth at the sight of the beauty surrounding her is expressed by one adjective - delighted. "Elizabeth was delighted" is the key phrase describing her state of mind during her visit to Pemberley. She is admired by the impeccable taste of the owner, who managed not to disturb the natural beauty of the landscape. She gives her no less pleasure to the interior decoration of the house - not glaring luxury, but genuine elegance. His housekeeper's enthusiastic review of Darcy becomes another revelation for Elizabeth. Finally, the courageous beauty of his appearance in the portrait, which both Elizabeth and her uncle and aunt admire, is in harmony with the beauty of everything that surrounds him.

All these external impressions gradually transform Elizabeth’s initially hostile attitude towards Darcy into completely different feelings, and her internal and improperly direct speech, intertwined with the author’s narration, allows us to trace all the shades of this evolution. Thus, Elizabeth’s first reaction to everything she saw in Pemberley was expressed in her internal remark “And of this place,” she thought, “I might have been mistress!” This involuntary regret is replaced by a phrase in which she reminds herself: “...that could never be; my uncle and aunt would have been lost to me; I should not have been allowed to invite them." The form of the subjunctive mood with the perfect infinitive indicates here not so much regret about a missed opportunity in the past, but rather the complete impossibility for her of marrying such a snob who would not allow her to accept her relatives. But then, listening to Darcy's housekeeper, looking at his portrait, she begins to understand the scale of his personality. Each phrase in her internal monologue, marked with an exclamation mark, reveals her inner excitement, a gradual change in her assessments: “What praise is more valuable than the praise of an intelligent servant? As a brother, a landlord, a master, she considered how many people"s happiness were in his guardianship! How much of pleasure or pain it was in his power to bestow! How much of good or evil must be done by him!” .

And yet the main result of her thoughts is different. Unexpectedly for herself, she begins to understand how harmoniously they complement each other. At the end of the novel, Darcy’s words about what the meeting with Elizabeth meant in his life will be consonant with her thoughts. But his first statement had an arrogant and contemptuous tone: “I am in no humor of present to give consequence to young ladies who are slighted by other men.” Later, in the moments of his first confession, first confident of her consent, then stunned by her refusal, he directly speaks of all his fears regarding their possible union:

“These bitter accusations might have been suppressed, had I, with greater policy, concealed my struggles, and flattered you into the belief of my being impelled by unqualified, unalloyed inclination; by reason, by reflection, by everything. But disguise of every sort is my abhorrence... Could you expect me to rejoice in the inferiority of your connections? To congratulate myself on the hope of relations, whose condition in life is so decidedly beneath my own?” .

In his speech there is a non-union enumeration of homogeneous prepositional objects (by reason, by reflection, by everything), the use of conditional and subjunctive moods (might have been suppressed, had I concealed, could you expect), a parallel construction in two interrogative sentences following one after another ( Could you expect me to rejoice... To congratulate myself...) create a growing effect, thanks to which his resentment and irritation find expression. Darcy's love is perhaps the main psychological mystery of this novel. There is nothing rational in his feelings, although he is undoubtedly a reasonable and insightful person. As he himself speaks about his love for the first time: “In vain have I struggled.” It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you."

Some researchers (for example, M. Pouvey), classifying the novel as a realistic work, consider its ending to be purely romantic. It’s too incredible (not like in life) that Elizabeth’s fate turns out happily. But perhaps Jane Austen’s psychologism and the authenticity of her characters are manifested in the fact that she portrays Darcy’s love as a passion that is not subject to reason and calculation (and therefore possible). Darcy’s path towards Elizabeth is a path of getting rid of prejudice and arrogance, from vanity, pride and self-confidence to a sharply self-critical assessment of his character: “I have been a selfish being all my life, in practice, though not in principle... I was spoiled by my parents, who, though good themselves ... allowed, encouraged, almost taught me to be selfish and overbearing, to care for none beyond my own family circle, to think meanly of all the rest of the world, to wish at least to think meanly of their sense and worth compared with my own... You taught me a lesson, hard indeed at first, but most advantageous.” His self-esteem comes through in this conversation with Elizabeth. The repetition of the word selfish, the italics of the words right, child, wish, parallel constructions (I was taught, I was given, I was spoiled) and enumeration reveal his excited, confessional mood, his gratitude to Elizabeth, whose love made him different.

Thus, from many observations, meetings, and impressions, a new image of each other gradually emerges in the souls of Elizabeth and Darcy. The fullness of life that each of them finds in the other creates the overall major key of the entire work. And, besides, throughout the novel, the dramatic vicissitudes of their relationship are intertwined with comic scenes.

Comic characters constantly enliven the narrative. The first of them is Mrs. Bennet. The mother of five adult daughters, all she thinks about is how to get them married. There are many obstacles to this, and not the least of them is the stupidity and vulgarity of Mrs. Bennet herself. Mrs. Bennet is a very impulsive and impatient creature.

The essence of her character is perfectly revealed by each of her remarks. The lexico-syntactic composition of her dialogue is always simple: words from everyday use, abrupt exclamations and interrogative sentences that reveal the heroine’s vanity, her ineradicable curiosity: “Well, Jane, who is it from?” What is it about? What does he say? Well, Jane, make haste and tell us, make haste, my Love."

In depicting the character of Mrs. Bennet, J. Austen effectively uses the dramatization of the narrative, that is, he gives the character the opportunity to express himself. For example, in chapter 59, she calls Darcy disagreeable, that is, an unpleasant subject, and remains sincere in her dislike for him: “I am quite sorry Lizzy, that you should be forced to have that disagreeable man all to yourself; but I hope you won't mind. It is all for Jane's sake." But at the end of the same chapter she breaks out in a stream of enthusiastic cries: "...Mr. Darcy! Who would have thought it? And is it really true? Oh , my sweetest Lizzy! How rich and how great you will be! What pin-money, what jewels, what carriages you will have! Jane"s is nothing to it - at all. I am so pleased - so happy." These exclamations are no less sincere than what she said about Darcy earlier, although they are directly opposite in meaning. This change of assessment in Mrs. Bennet's speech part creates a visible image of a truly comic heroine.

But there are characters in the novel who are outlined not with soft comic touches, but with genuine satire. Unlike the main characters of the novel, who are constantly learning to better understand themselves and each other, who sincerely experience their delusions and shortcomings, comic and, especially, satirical characters do not undergo any changes in their development.

The first of them is Mr. Collins, whose name has become a household name in English literature. Collins is presented as a smug fool on his first visit to the Bennet house. He is unbearably pompous and verbose. He endlessly praises his own merits and the advantages of his position, the main one of which is the patronage of the wealthy aristocrat Lady Catherine de Bourg. Having never seen him, only by the tone of his letter, eloquent, verbose, Elizabeth determined the character of its author in one word - pompous. She will have to make sure that there was something worse in him - the ability to basely worship the powerful of this world and the ability to humiliate those who were lower than him in wealth and position. The base essence of his nature makes itself felt most of all during the most difficult period for the Bennet family: during the flight of Lydia with Wickham. Collins sends them a letter of “condolence.” The lexical composition of this letter is represented by sublime literary vocabulary: respectable family, present distress of the bitterest kind, the death as a blessing, augmented satisfaction, involved in disgrace, etc., behind which is hidden hypocritical sympathy in the grief that befell the respectable family, as well as and a great deal of gloating and self-satisfaction in the knowledge that, having been rejected by Elizabeth and married to Charlotte Lucas, he was now freed from having to share the shame of the Bennet family.

Thus, the author's strategy can be defined here as the desire to create the image of a character such as Mr. Collins based on the self-disclosure of his character, because in all cases, Collins’s own statements and actions become the main means of characterizing the various properties of his nature: hypocrisy, lackey humiliation and limitations.

Collins is perfectly complemented and shaded by Lady Catherine de Bourg, who appears on the pages of the novel twice. Elizabeth meets her when she comes to visit the Collinses. She is struck by the unceremoniousness of the mistress of the estate: she considers herself entitled to question the Collinses and Elizabeth about any details of their private lives, interfere and give advice on how to run the household, etc. Another time, Lady de Bourg herself comes to the Bennett house. Now she is pouring out real torrents of abuse at Elizabeth. She called the rumor about the possible engagement of her nephew, Mr. Darcy, and Elizabeth a vile invention, then launched threats and insults against Elizabeth and her relatives. The authoritative and peremptory tone of her speech, the very choice of words like the upstart, retentions of a young woman without family, connections, or fortune testifies not only to her dislike for Elizabeth, but also to the rudeness and unceremoniousness of this high-born lady. However, ironically, it was she who became the unwitting accomplice in the marriage of her nephew and Elizabeth. Upon learning of her conversation with Elizabeth, Darcy realized that Elizabeth loved him and would accept his proposal. So evil punished itself, and if we can talk about the influence of Ben Jonson’s ideas on D. Austen, then it was reflected in this: evil in her novel is defeated due to internal reasons and contradictions.

In addition to the lyrical-dramatic plot line, represented by the images of the main characters, in addition to its comedic-satirical beginning, the bearers of which are Mrs. Bennet, Reverend Collins and Lady de Bourg, the novel also has an adventurous and picaresque component, represented by such heroes as Wickham and Lydia Bennet . By themselves, as individuals, they are quite ordinary and do not represent anything of themselves. Lydia thinks only about fans and a speedy marriage, and running away with Wickham is the result of her latest hobby. Wickham, in comparison with her, seems to be a more significant person; he is an attractive young man, an interesting conversationalist. But the difference between what he says about himself and who he really is is very striking. The fact that, escaping from the regiment, he drags Lydia along with him, reveals not so much the depravity of his nature as his inability to foresee the consequences of his actions. The very adventurous and roguish episode associated with these two characters adds significant tension to the plot. Not only Lydia’s honor is at stake, but also that of the entire Bennet family and the relationship between Elizabeth and Darcy. Thanks to Darcy, the episode gets a happy ending, because in the wonderful world of Jane Austen's heroes there is no place for evil and dishonesty.

Among the most important stylistic devices of Jane Austen is, first of all, irony, which was already mentioned in connection with the characteristics of the characters. The ironic effect is created both by grammatical means (for example, the use of the subjunctive mood) and by means of vocabulary, when the spoken words are directly opposite in meaning to what is meant. Thus, Mr. Bennet is ironic when he says that, admiring his three sons-in-law, he singles out Wickham as his favorite (“Wickham, perhaps, is my favorite”), while he has nothing but antipathy for Wickham.

The author’s comment at the beginning of chapter 61 is also ironic: “Happy for all her maternal feelings was the day on which Mrs. Bennet got rid of her two most deserving daughters." The happiest day in the life of the mother, Mrs. Bennet, is called the day when she “got rid of” her two most worthy daughters. The dictionary definition of the phrasal predicate get rid (to make a person free from - get rid of) to some extent contrasts in meaning with the words happy day (a day of pleasure - a happy day), this is how the author expresses his ironic attitude towards Mrs. Bennet’s maternal aspirations.

Jane Austen also makes extensive use of her own direct speech, which allows her to see the inner world of the heroine in moments of her most powerful emotional experiences and emotions. Thus, a series of short interrogative and exclamatory sentences uttered by the heroine “to herself” after an unexpected meeting with Darcy at Pemberley perfectly conveys her excitement at that moment: “Her coming there was the most unfortunate, the most ill-judged thing in the world!” How strange must it appear to him! In what a disgraceful light might it not strike so vain a man! It might seem as if she had purposely thrown herself in his way again! Oh! Why did she come? Or, why did he thus come a day before he was expected?” .

The lexical composition of the author's speech is determined by commonly used or neutral vocabulary. Even to convey strong emotional tension, the writer does not resort to any sophisticated techniques, but very skillfully uses the superlative degree of comparison of adjectives. Thus, the changed opinion about Wickham is expressed in a simple phrase: “Everybody declared that he was the wickedest young man in the world.”

The nervous state in which Elizabeth and Jane were awaiting news of Lydia is conveyed through a metaphorical epithet: “Every day at Longbourn was now a day of anxiety; but the most anxious part of each was when the post was expected.”

Superlative adjectives characterize the state of the characters in the happiest moments of their lives: “...the liveliest emotion; ...the happiest creature in the world; ...the happiest, wisest, and most reasonable end!” - all this is about Jane Bennet after Mr. Bingley proposed to her. If Bingley was everyone's favorite, then the attitude of those around him towards Darcy was more difficult; epithets also help to understand all his shades and changes. First, Austin describes everyone's admiration for him: “A fine figure of a man... much handsomer than Mr. Bingley, and he looked at with great admiration...” But Darcy's reserved behavior, which everyone takes for arrogance, very soon arouses hostility towards him. Now the attitude towards him is expressed in a gradually increasing stream of enumerations of all kinds of negative qualities:

“.He looked at with great admiration for about half the evening, till his manners gave a disgust which turned the tide of his popularity; for he was discovered to be proud, to be above his company, and above being pleased; and not all his large estate in Derbyshire could then save him from having a most forbidding, disagreeable countenance, and being unworthy to be compared with his friend."

This list uses constructions with an infinitive (to be proud, to be above his company) and a gerund (above being pleased, from having a ... countenance, being unworthy), as well as epithets with a negative connotation (forbidding, disagreeable, unworthy) . This first impression of Darcy very soon turned into a persistent negative attitude towards him both from the entire provincial society and from Elizabeth and her family in particular. It took many events, meetings, explanations before Elizabeth saw and learned the true essence of his nature.

The size of sentences plays an important stylistic role in the novel: from short remarks in dialogues and sentences of medium length that form the author's commentary to very large sentences, sometimes occupying an entire paragraph. One such example is an excerpt from Jane’s letter to Elizabeth about the unsuccessful search for Lydia and Wickham: “By this time, my dearest sister, you have received my hurried letter; I wish this may be more intelligible, but though not confined for time, my head is so bewildered that I cannot answer for being coherent... Imprudent as a marriage between Mr. Wickham and our poor Lydia would be, we are now anxious to be assured it has taken place, for there is but too much reason to fear they are not gone to Scotland.” In this fragment, the author strings together a series of complex sentences (that I cannot answer for being coherent, imprudent as a marriage ... would be; for there is but too much reason to fear they are not gone to Scotland) and complex sentences (By this time, my dearest sister, you have received my hurried letter; I wish this may be more intelligible...) to create either a retrospective, or speculative (a marriage between Mr. W and Lydia would be), or a synchronous image of events and feelings (my head is so bewildered, there is too much reason to fear they are not gone to Scotland), as well as to convey feverish states of thoughts and actions (my head is so bewildered; I cannot answer for being coherent). Complex constructions turn out to be necessary and adequate to the entire complex range of feelings experienced by Jane.

One of the climaxes of the novel is the evening at the Bennet house when Mr. Darcy asks Elizabeth's hand from her father. It seems that all the diversity of J. Austen's stylistic techniques is concentrated on these pages. Here is the dramatization of the narrative: Darcy’s whispered words “Go to your father; “he wants you in the library,” Elizabeth’s dialogue with her father, which uses a build-up effect: “Lizzy,” he said, “what are you doing? Are you out of your feelings, to be accepting this man? Have not you always hated him?" . Here are parallel constructions, stylistically colored use of the subjunctive mood and italics in Elizabeth’s indirect speech: “...But he was going to be made unhappy, and that it should be through her means; that she, his favorite child, should be distressing him by her choice, should be filling him with fears and regrets in disposing of her, was a wretched reflection.” This convergence of stylistic devices creates the effect of enormous emotional tension and complete authenticity of what is happening.

Jane Austen's skillful stylistic skill creates a very vivid, very reliable picture of the morals, way of life, and life of a small provincial society. It was inhabited by quite ordinary people. Only a few of them had a developed mind, independence of judgment and nobility. But it was they who filled this novel with such a joyful acceptance of life, such optimism, which never sounded with such force in any subsequent work by J. Austen.

In this novel, the system of ethical values ​​(sincerity, benevolence, rejection of class arrogance, self-esteem) that Jane Austen's heroes embody is finally formed. Her ethical ideal also finds equal artistic expression: impeccable stylistic mastery is combined with the skillful use of the genre possibilities of the novel.

“Pride and Prejudice” uses such compositional principles of a realistic novel as a complex system of characters, the significant role of the chronotope in the development of the plot, as well as portrait and landscape sketches in their characterological and aesthetic functions, and finally, the complex subjective organization of the text, in which the dominant role belongs to impersonal narration, but where each character, not only the main one, but also the secondary one, thanks to dramatization, the inclusion of improperly direct speech and intexts, gets the opportunity to express himself as if independently.

Thus, in the novel “Pride and Prejudice”, 25-30 years before the release of the first novels of Dickens, the recognized founder and classic of English critical realism, the characteristic features of this artistic method were already appearing.

Bibliography

• 1. Amelina T.A. Problems of realism in the works of Jane Austen (method and style): abstract. dis. ...cand. Philol. Sci. - M., 1973.
• 2. Demurova N.M. Jane Austen’s novel “Pride and Prejudice” // Austen J. Pride and Prejudice. - M.: Progress, 1961.
• 3. Austen J. Pride and Prejudice. - M., 1961.
• 4. Cecil D. A Portrait of Jane Austen. - London, Constable, 1979.
• 5. Kestner J. Jane Austen. Spatial Structure of Thematic Variations. - Salzburg, IESL, 1974.
• 6. Masefield M. Women Novelists from Fanny Burney to George Eliot. - London, Y.N. & Watson, 1967.
• 7. Poovey M. The Proper Lady and the Woman Writer. Ideology as Style in the Works of Mary Wollstonecraft, Mary Shelley and Jane Austen. - Chicago and L. - UCP, 1985. - Pp. xxii+288.

COURSE WORK

"The Image of the Province in Jane Austen's Novel

"Pride and Prejudice"

INTRODUCTION

The work of Jane Austen belongs to the transitional period of the late 18th - early 19th centuries, when the artistic and literary system changed its direction in development from the Enlightenment to romanticism and realism, which almost simultaneously coexisted in Great Britain and mutually influenced each other. The writer’s novels are constantly in the zone of unflagging reader and research attention, which is associated with the originality of the artistic solution in them to the so-called “eternal” existential questions of human existence. To this day, they are in demand by the reader, as they are dedicated to universal human values ​​that do not lose their relevance, and they reveal the evolution of the concept of a woman’s personality in historical and literary development. The interest of professional researchers is based on the opinion that Jane Austen is an innovator of motifs and techniques that enriched English realistic prose. In this regard, Austen’s work is perceived as the foundation for important discoveries in English literature of the 30s of the 19th century. The consonance of Austen’s works with the most pressing problems of modern civilization determines the demand for research addressed to the “universal human component” of her work, even today, at the beginning of the 21st century.

Despite the fact that the work and life of Jane Austen was studied by such famous critics as R. Liddell, M. Madrick, W. Scott, A. Kettle, S. Morgan, N. Auerbach, R. Fehrer, M. Bradbury, R. Chapman, W. Booth, A. Litz, the analysis of her work is still relevant and interesting in research today.

In a fairly representative foreign and domestic research tradition in the field of studying the creative heritage of Jane Austen, in our opinion, such an aspect as the influence of the province on the formation of the worldview and creativity of the writer is still insufficiently studied. Related to this is the scientific novelty of the work, which lies in a detailed examination of provincial England in the novel “Pride and Prejudice”. The relevance of the study becomes especially obvious in the context of unquenchable interest in the personality of Jane Austen and her work.

The purpose of the course work is to analyze the image of the English province in Jane Austen’s novel “Pride and Prejudice”.

Coursework objectives:

Identification of the relationship between biographical events in Austen’s life and her work;

Revealing the influence of Jane Austen's provincial life on the plot of her novels;

Justification of the need to study the novel “Pride and Prejudice” in terms of historical value;

Consideration of the mental priorities and stereotypes of the provincial environment of England in the 18th century;

Study of stylistic means of revealing the characters' characters based on the novel “Pride and Prejudice”.

The subject of the study is the novel “Pride and Prejudice” itself in Russian and the original language.

The object of the study is the English province of the late 18th - early 19th centuries.

Main research methods: methods of conceptual, philological, functional, component text analysis, elements of comparative, descriptive methods, historical and etymological method.

The theoretical significance of the work lies in the fact that the image of the province in the novel is considered as an important characteristic of the lifestyle and morality of the provincials of the 18th century in England.

The practical significance of the work lies in the fact that the presented materials can be used in the practice of university teaching when developing courses on the history of English literature of the 18th - 19th centuries.

The presented work, in addition to the introduction and conclusions, contains three sections that clarify theoretical and practical issues on the formulated topic. In addition, a list of processed scientific sources is attached.

The research material is the original text of Jane Austen’s novel “Pride and Prejudice” and its Russian translation, biographical articles about the writer, publications and studies of Austen’s work, critical literature.

This work can be used for further research.

1. JANE AUSTEN – THE “FIRST LADY” OF ENGLISH LITERATURE

1.1 Jane Austen - the founder of the classic romance novel

Due to the established literary tradition, most authors are men. And in order for “women’s” literature to occupy its niche, it is necessary to position itself as a unique and independent cultural phenomenon. It is necessary to find a different approach to literary activity, different from the “male” one. A female author, describing her model of seeing and understanding the world, focuses on personal observations and experiences; she is looking for special ways of perceiving and assessing reality, trying not to get lost in the established standards of the male literary tradition. This is what made Jane Austen's novels so popular.

Jane Austen is rightfully considered the “first lady” of English literature; the positivist critic Lewis puts her as an example to Charlotte Bronte, her “exemplary realism” becomes the basis for followers of this genre. Later, J. Eliot discovers the connection of his aesthetic principles with the practice of the “incomparable” (as defined by W. Scott) Jane.

Despite the little fame and popularity of this name in the 19th century, the study of Austen’s literary heritage began during her lifetime. W. Scott, who became one of the first critics and reviewers of Jane Austen, dedicated a detailed article to the novice author. The writer noted the emergence of a fundamentally new “novel style” depicting the everyday life of a person, in which he saw the origin of a realistic image. W. Scott, in his statements about the author’s creative style, expressed the idea that Austen “creatively approaches the romantic heritage and in many ways surpasses his predecessors.”

Jane Austen gave the basis for English realism, which was developed by her followers. She has been and continues to be set as an example more than once. After all, to tell the truth, today there are few writers whose books can be reread at least twice. And reading Austen’s novels at different ages, each time you discover them in a new way, drawing truths and drawing conclusions for yourself, determining what is funny and stupid, and what you really should learn. For example, meekness and patience, the ability to neglect one’s principles and pride, prejudice and arrogance.

It is difficult to disagree with W. Litz, who wrote in his monograph about Austen: “We call her the first “modern” English novelist because she was the first prose writer who synthesized what Fielding and Richardson had achieved, thereby anticipating the classical images of the 19th century, that method him, which allowed artists to reflect both the course of external events and the complexity of individual impressions and perceptions of the individual.”

Everything that she herself wrote was perceived and revised by her followers. “It stands at a crossroads in the history of the novel, anticipating in some respects the greater preoccupation with moral issues of the Victorians, while at the same time maintaining the objectivity, skepticism and detachment of the 18th century. Although her social range was limited... in some respects she knew more and perceived life more broadly than many of the more experienced and learned writers who came after her."

M. Bradbury emphasizes the relevance and topicality of the writer’s work. According to the researcher, while focusing on the “moral” world in his novels, Austen, however, focuses on what is reasonable and desirable in social relations (marriage, material security). From the point of view of M. Bradbury, Austen's novels are distinguished by a type of narrative style that is progressive compared to previous literature: the omniscient narrator is replaced by the characters' thoughts about what is happening. The comparison of different points of view deepens the psychologism of the narrative, and their obvious polarity creates a comic effect. The listed circumstances, from the researcher’s point of view, indicate both a certain dependence of Austen’s work on the aesthetics of the Enlightenment, and the emergence of features of the author’s realistic consciousness.

Jane Austen was the herald of realism in British literature, the founder of the family, “ladies' novel.” She revolutionized the art of narrative, establishing the leading role of the novel and proving that women have the right to creativity. At one time, Jane Austen took up her pen when a woman writer was criticized and not taken seriously.

The history of the creation of her most popular and famous novel, Pride and Prejudice, begins back in 1796. Austen finished it by August of the following year; she was then twenty-one. Little is known about this early version of the book from its original title, First Impressions. As far as is known, no copy of that original exists. Three months after Miss Austen finished the book, her father offered the manuscript to a publisher in the hope that it would be published. The publisher refused without even seeing the manuscript.

Fortunately for all her fans, the first refusal did not stop Miss Austen, she continued to write; although it was not until the winter of 1811, fourteen years after finishing First Impressions, that she took up the manuscript and began revising it into the book we know today as Pride and Prejudice. The work was much more successful than its earlier incarnation; it was accepted for publication and presented to the world on January 28, 1813.

Jane Austen's name was never attached to any of her published novels during her lifetime, and the title page of Pride and Prejudice read: "From the Author of Sense and Sensibility."

So why are Jane Austen's novels so popular today? Why, despite the fact that the manners and era that gave birth to them are long gone, do they continue to touch and excite readers? The answer to this question is simple. Jane Austen was a great artist who had the ability to “live the lives of her heroes and convey this feeling to readers.” “She was interested in the ordinary, and not what is called extraordinary,” noted S. Maugham. “However, thanks to her visual acuity, irony and wit, everything she wrote was extraordinary.”

The reason for Austen's eternal youth is her subtle irony and cheerful laughter. Immutable truths, outwardly accepted with respect by her, are subjected to ironic ridicule; Her laughter not only amuses, but also awakens thought and undermines the very foundations of false social principles. This is the enduring significance of Austen's irony, its humanity and ethical value.

1.2 The influence of the province on the writer’s work

Jane Austen's life was relatively short and uneventful. She was born in Hampshire into the family of a priest. The family was large: Jane grew up surrounded by six brothers and a sister. The Austins were poor. They kept no servants; only from time to time a village girl came to help with the housework. Mrs. Austin smoked hams and made mead and beer; Cassandra cooked; Jane covered the whole family.

Despite the fact that rural existence did not indulge in variety, life in the rural wilderness played a beneficial role for the writer’s creativity. All her works do not pretend to be more than a description of the life of two or three modest provincial families. But the author’s excellent knowledge of human nature and psychology, her subtle humor, her jewelry pen even today, two centuries later, never cease to amaze and delight, giving every right to rank the novels she created among the masterpieces of world literature.

Jane Austen had one quality that is not often found in novelists: she knew her capabilities and their limits. As a fifteen-year-old girl, writing her first unfinished novel in the corner of the classroom, she had already firmly outlined with school chalk the circle of themes, characters and relationships that she recognized as her own; that circle that will not be crossed even in the years of mature creativity. According to the writer, the most interesting topic seemed to her to be “the life of several families living in the countryside.”

To some this may seem small and modest, but in this field Jane Austen managed to create surprisingly capacious images and situations that, with purely English humor, described the life of middle-class people in the English province, and received the title of “Queen of the English Novel.” The secret of her popularity is simple: she wrote about what she knew thoroughly, she knew based on her observation and experience taken from everyday life, since she was born in the provinces.

A quiet, cozy place in rural England, where all more or less worthy people know each other, go to visit each other, discuss each other - this is an unusually stable world. A world where there is no place for cataclysms and catastrophes, where relationships are simple and clear, where people have enough time to think about and deeply analyze the events that happen to them; where there is a place for feelings, they are important, they are given significant meaning.

Calmly and without tension, she guides the reader through the plot lines of her novels. There is no doubt that Jane Austen is a subtle psychologist of human characters, she is not distracted by detailed descriptions of appearance, interior, nature, the inner world of a person is important to her, which is revealed through dialogues between the characters in novels. Jane Austen looks at the events of the era from her own unique perspective.

Having analyzed the life of the founder of the classic romance novel, you can, through the prism of the irony of the pen, see in her novels real people with whom she had to deal, somewhere even herself, her experiences and problems, between the lines you can see the almost transparent haze of the most hidden corners of her soul, hear whispers of the deepest secrets of her life. She wrote about the sphere of life in which she herself grew up; she knew the problems of the provincials from the inside. At the same time, unlike her predecessors, as E. Baker correctly noted, Austen was not fundamentally a “educational or moralizing” novelist.

The novelist consciously gravitated towards the economical use of artistic and visual means. She strove to express in a few words, without any verbal embellishment, the most important and necessary things. It is characteristic that Austen sought to draw these visual means from the sphere of the everyday reality that surrounded her.

“Her judgments,” writes Kettle, “are always based on actual facts and the aspirations of her heroes. Taken in a broad sense, they are always social. Human happiness in her understanding is by no means an abstract principle.”

The writer’s work stands at the origins of English critical realism of the 19th century. Her literary heritage consists of six novels about the life and morals of the English small nobility and rural clergy. Austen's powers of observation, as her novels show, were unusually acute, but she did not write about everything she knew and saw. She was interested in the psychological background of ordinary, everyday actions in the provincial corners of England. “You can’t even say about a writer like Jane Austen that she is original - she is simple and natural, like nature itself,” wrote one of the most insightful critics G.-K. Chesterton.

Jane Austen is a master of everyday life; she easily depicts characters and faces through the prism of subtle humor and irony. The secret of the enduring popularity of Jane Austen's novels is simple: she, several centuries ahead of her time, wrote about what so deeply worries human minds and souls. Jane Austen wrote about how simple and difficult it is to combine love and prejudice, sincere love and the need to “improve” your financial condition through a successful marriage. Reading any novel by Jane Austen confirms the idea that only someone who himself experienced the struggle of these contradictory principles could portray them so faithfully.

2. THE IMAGE OF THE PROVINCE IN JANE AUSTEN’S NOVEL “PRIDE AND PREJUDICE.”

2.1 The English province is a key element of the artistic space in the novel “Pride and Prejudice”.

The image of the province is not new; it has been present in the works of many authors for centuries, but Jane Austen introduced the most complex thoughts into it in an accessible presentation , a thorough knowledge of human nature, English humor and love in its purely “feminine” understanding.

The everyday life of ordinary people, the little things in the life of provincial existence - this is the artistic space of the novel “Pride and Prejudice”, where Austen, thanks to his subtle wit and brilliant irony, achieves great depth.

The description of the province itself is very laconic and restrained; Jane avoids unnecessary descriptions and unnecessary details, strictly subordinating all elements of the narrative to its main development. She criticizes novels in which "circumstances are introduced that have apparent significance, but which, however, lead nowhere." There were no such circumstances in her novels; in them all descriptions, all landscapes are used for the further development of action or characters.

There is almost no landscape in the novel: a few lines of description of Rosings and Pemberley. The names of towns and estates are often fictitious, for example, Netherfield Park, Meryton, Hunsford, Westerham, etc.

The novel takes place in Longbourn, "the village in which they [the Bennets] lived, and where the Bennet family occupied a prominent position." The name of the village is also fictitious. The Lucases, with whom the Bennetts were on friendly terms, live next door. Nearby, in Netherfield, Mr. Bingley and his sisters and his friend, Mr. Darcy, appear. They visited here occasionally, introducing new topics for the conversations of everyone around them, adding variety to the everyday life of provincial residents.

In her novel, Jane Austen combines the intimacy of depicting the life of provincial English families - “painting miniatures with a thin brush,” as the writer herself defined her artistic style - with an amazing breadth of coverage of life phenomena. Reading the novel, we learn about various aspects of life in England at the turn of the 18th-19th centuries: about the economy, politics, social structure, church, the institution of marriage in those days, about morals, life, manners, clothing. The English province, as a key element of the novel's artistic space, is necessary to characterize that era, for the development of action and for a brighter comic effect.

Austen does not have descriptions of outfits or furnishings in the house, but the reader clearly imagines the place of origin of the actions through the dialogues and caustic comments of the novelist herself.

The small nuances of human relationships are conveyed in great detail, which, together with the fascinating “Old English” dialogues, evokes a feeling of immersion in the atmosphere of the 19th century and in the world of an individual English family. The following dialogues of the characters in the novel “Pride and Prejudice” are interesting:

"The country," said Darcy, "can in general supply but a few subjects for such a study. In a country neighborhood you move in a very confined and unvarying society."

"Yes, indeed," cried Mrs. Bennet, offended by his manner of mentioning a country neighbourhood. "I assure you there is quite as much of that going on in the country as in town."

"I cannot see that London has any great advantage over the country, for my part, except the shops and public places. The country is a vast deal pleasanter, is it not, Mr. Bingley?"

"When I am in the country," he replied, "I never wish to leave it; and when I am in town it is pretty much the same. They have each their advantages, and I can be equally happy in either."

"Aye-that is because you have the right disposition. But that gentleman," looking at Darcy, "seemed to think the country was nothing at all."

One can note the very simple way of life of families in the English province. The man is responsible for the financial support of the family, the inheritance is passed on only through the male line, thus the daughters have only one hope - marriage. What are the female half of England doing? – Attending balls and discussing events taking place in the surrounding area. Reasoning about life is also very simple. “Whoever is interested in dancing, it doesn’t cost anything to fall in love.”

“Ah, if I could see one of my daughters happy mistress of Netherfield,” Mrs. Bennet said to her husband, “and marry the others just as successfully, then I would have nothing more to desire.”

The female half certainly meets after the balls in order to discuss the events that took place at the ball - this is an integral part of their life. They discuss every detail, every word spoken during the dances, and plan further actions to win men’s hearts.

Wherever in the provinces, the problem of marriage is purely a property problem. This is why Austen's characters so often put words like match and fortune next to each other in their conversations. “As to a fortune it is a most eligible match,” notes one of the heroines of the novel “Pride and Prejudice” in connection with the marriage of Mr. Collins and Charlotte Lucas. “It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife” - this is how the first chapter of the novel begins. "Fortune" - i.e. the wealth that a young landowner has the good fortune to possess becomes and should become an object of desire for the environment where he will most likely begin to look for a life partner. Therefore, not only negative characters, but also those with whom the writer sympathizes, constantly talk about fortunes, profitable parties and inheritances.

By immersing the reader in the atmosphere of the English province, Jane Austen gives us the opportunity to better understand the actions of the characters in the novel and compare the actions of different layers of the gentry. On every page of the novel Pride and Prejudice, the English countryside is a key backdrop for the development of events.

2.2 Images of the provincial nobility and their role in the novel.

The focus of the novel “Pride and Prejudice” is the private life of the provincial nobility, among which the author identifies people of various property status. The plot of the novel is simple, and the grouping of characters in it is strictly thought out. The provincial family is, as they say, “middle-class”: the father of the family, Mr. Bennet, is of quite noble blood, phlegmatic, prone to a stoically doomed perception of both the life around him and himself; He treats his own wife with particular irony: Mrs. Bennet really cannot boast of either origin, intelligence, or upbringing. The Bennett couple have five daughters: the eldest, Jane and Elizabeth, will become the central heroines of the novel.

The action takes place in a typical English province. Sensational news comes to a small town: one of the richest estates in the area will no longer be empty: it has been rented by a rich young man, a “metropolitan thing” and aristocrat, Mr. Bingley. However, Mr. Bingley does not arrive alone; he is accompanied by his sisters, as well as his friend Mr. Darcy. The action develops around one, at first glance, seemingly trivial conflict: Elizabeth Bennet meets with the aristocrat Darcy. She feels Darcy's disdain for her family, and a prejudice against him is born in her, which is difficult for her to overcome even when mutual feelings are born between people. Darcy, in turn, aware of his superiority (both class and personal) over the provincial gentry, first reveals emphasized arrogance in the presence of Elizabeth, and then, having fallen in love with the girl, overcomes both his pride and his prejudices.

Let us dwell in more detail on the images of the provincial heroes of the novel. J. Austen characterizes human nature in his work as “a combination ... of good and bad.” Her character appears in development, in the unity of the particular and the general, “so unlike anyone else and so similar to others.” This deeply innovative understanding of the nature of character allowed Austen to create psychologically convincing images in the novel Pride and Prejudice.

The main character of the novel, Elizabeth Bennet, is the artistic discovery of Jane Austen. Elizabeth, who grew up in the family of a poor provincial squire, in an environment characterized by petty interests and narrow-mindedness, stands out sharply from the general background. Her mindset can be called analytical. She thinks a lot and seriously, observing the morals of the people around her. However, the writer does not idealize the heroine. Miss Bingley remarks: “There is so much folk complacency in her whole appearance that it is impossible to reconcile herself with it! »

She is poor and suffers from the vulgarity of her family. Living under the same roof with a mother who did not shine with tact and intelligence, and with obnoxious younger sisters, was very painful for Elizabeth. In Elizabeth's character there is no frivolity, a thoughtless pursuit of entertainment, characteristic of her younger sister Lydia. The monotony and monotony of everyday provincial life make any trip that promises a change of impressions, the opportunity to meet new people, so desirable. Therefore, her aunt’s offer to go on a trip with them causes outright delight. “What a delight! What felicity! .

Elizabeth is a heroine with a rich inner life; concrete facts of reality make her think about the imperfections of human nature. She understands well the limitations of her mother, she is antipathetic to the vanity of the priest Collins and the prim arrogance of the rich and noble Lady de Bourg.

In her refusal to marry the priest Collins, the character of Elizabeth is revealed at its best. Her words convince us that before us is a woman who will not go against her feelings, for whom in love and marriage it is not considerations of self-interest or profit that are important.

"Mr. Collins," she says, "is a vain, pompous, narrow-minded, stupid man... The woman who marries him cannot be considered sane." Thus, through her attitude towards Collins, Elizabeth’s character is convincingly revealed, her integrity and uncompromisingness become obvious.

Elizabeth's opposite is her sister Lydia, although they grew up and were raised in the same family. She is the most frivolous of the five daughters of the Bennet family. Lydia is proud of her new military gentlemen, and reproaches Elizabeth for her pickiness in relation to gentlemen. “Jane will soon be our old maid, honestly! She's almost twenty-three already! If I had not been able to get myself a husband before these years, I would have burned with shame.” She just wants to get married, she does not lose herself in thoughts about the similarity of interests, about the inner qualities of people, about who exactly to live with, it seems to her that she doesn’t care with whom, the main thing is that she is married, and before her older sisters.

All her actions are illogical, reckless and short-sighted. Lydia does not think about social status and the ability of officers to provide her with a decent income that would be enough to live on. She doesn't care about those around her or her family. This is perfectly confirmed by the fact of her escape with Wickham. Lydia does not think at all about the consequences, and does not think at all about what reputation she creates for the whole family, what example Kitty sets. She does not respect family values ​​and does not care at all about the reputation of her family name, disgracing her mother and father with her frivolous behavior, and preventing her sisters from getting married with such fame.

The image of Darcy is revealed in general in less detail than the image of Elizabeth. Austen highlights in this hero, first of all, one leading feature - his pride. “He can be completely different,” says Wickham, “if he finds meaning in it. With those who are equal to him in position in society, he behaves differently than with those who have succeeded in life less than him.”

Darcy is attractive because of his “good fortune” - ten thousand pounds a year. However, in addition, he is the owner of “fine, tall person, handsome features, noble miens” - that is, “a beautiful slender figure, pleasant facial features and aristocratic manners.” However, Mr. Darcy has one significant flaw: he is not at all “agreeable.” Moreover, despite his aristocracy, he has “disagreeable contenance”, that is, “unfriendly manners, unfriendly behavior.”

How is this hostility expressed? The fact is that he danced only two dances with familiar ladies - Mr. Bingley's sisters - and flatly refused to make new acquaintances, both among men and among ladies. He "passed the rest of the evening walking about the room, and from time to time uttering a few words to some of his company." Such unsociability quickly turns everyone's sympathy away from the aristocrat. Darcy, meanwhile, moves from unfriendly to rude. When Mr. Bingley, fascinated by Jane Bennet, notices that Jane's younger sister Elizabeth is left without a partner, he invites his friend to invite Elizabeth. But Mr. Darcy does not share his enthusiasm. Seeing that Elizabeth is close enough to hear their conversation, he nevertheless tells his friend that the second Miss Bennet is “tolerable” - “acceptable”, but nevertheless “not handsome enough to tempt me” - “not good enough for to attract me."

Darcy makes a certain impression on those around him: a proud, arrogant person. This is how he perceives local society at the beginning of the novel: “Darcy, on the contrary, saw around him a crowd of rather ugly and completely tasteless people, in whom he did not feel the slightest interest and from whom he did not notice any attention or affection.” Being in the grip of snobbish prejudices, Darcy managed to separate his friend Bingley from Jane Bennet, believing that the latter, due to her “social position, was an unsuitable couple for him.”

Despite his negative qualities, Darcy has intelligence, strength of character, and the ability to love. He says the following about himself: “I have enough weaknesses. I just hope my mind is free of them. But I wouldn’t vouch for my character.” The refusal Darcy received from Elizabeth was a difficult test for his pride. A man of an aristocratic upbringing, he did not betray the feelings raging within him. Given his restraint, the most natural way of expressing emotions was not direct dialogue with his chosen one, but correspondence with her.

One of the brightest representatives of the provincial English environment is the image of Mrs. Bennet. “She is frankly stupid, blatantly tactless, extremely limited and, accordingly, has a very high opinion of herself, with an unstable mood. When she was dissatisfied with something, she believed that her nerves were not in order. Her only entertainment was visits and news.”

The image of Mrs. Bennet, her narrow-mindedness and primitive thinking are expressed through dialogue in a comic-everyday style. The verbose speeches put into Mrs. Bennet’s mouth objectively parody philistine ideas and interests. They allow us to present in an ironic way the mores of a very specific social environment. Mrs. Bennet is obsessed with only one idea, like all mothers in England at that time - to marry off their five daughters:

“- A young bachelor with an income of four or five thousand a year! Isn’t it a good opportunity for our girls?”

Mrs. Bennet does not understand that she looks stupid and does not feel ridicule, zealously defending her point of view and not seeing the subtext of mockery in the speeches of her husband. Her image is truthful and frank, she always says what she thinks, although not always thinking about the consequences. The final goal is important to her, and it doesn’t matter what sacrifices will be made to achieve it. So, she sends her own daughter, dear Jane, into the rain, risking her health, but benefiting Jane’s soul and heart, because in this way she spends several days in the care of the person dear to her heart - Mr. Bingley.

As for Mr. Bennet, having married a narrow-minded, spiritually undeveloped woman, he, instead of raising her, considered it better to isolate himself - from Mrs. Bennet, from her stupidity, truly unprecedented, and at the same time from the world with its problems - the walls of the library or a newspaper. Disillusioned with the family idyll, he sneers at everything and despises everyone around him, including, it seems, himself. Over the years, indifference becomes not only a protective shell, but also second nature for Mr. Bennet, whose existence, in fact, is even more meaningless than his wife, who, although stupid, is not cynical. Even at the beginning of their marriage, Mr. Bennet regretted that behind his wife’s beautiful appearance he did not see the narrowness of her horizons. He acts rudely by ridiculing his wife’s stupidity and ignorance in the presence of his own daughters.

"Almost all of Mr. Bennet's property consisted of an estate generating two thousand pounds a year. Unfortunately for his daughters, this estate was inherited through the male line and, since there was no male child in the family, passed on the death of Mr. Bennet to a distant relative. Funds "Mrs. Bennet's wealth, sufficient for her present situation, could in no way compensate for the possible loss of the estate in the future. Her father during his lifetime was a solicitor in Meryton, leaving her only four thousand pounds."

That is, if the Bennet young ladies do not find husbands for themselves after the death of their father, they will have to leave their home and live with five of them on Mrs. Bennet’s very limited income. It is not surprising that Mrs. Bennet is nervous and fixated on catching suitors.

The image of Collins is one of the most colorful in the novel. Collins is presented as a smug fool on his first visit to the Bennet house. He is unbearably pompous and verbose. He endlessly praises his own merits and the advantages of his position, the main one of which is the patronage of the wealthy aristocrat Lady Catherine de Bourg. As a preacher in the parish that is part of Lady de Bourg's domain, Collins in every possible way advertises his devotion to her. He is extremely proud that a lady with a title has brought him closer to her: “my humble abode is separated only by a lane from Rosings Park, her Ladyship’s residence.” Characteristically, Collins is by no means a hypocrite. Therefore, Collins' humiliating speech (my humble abode) is a highly typical phenomenon, corresponding to the very essence of his character. Mr. Collins says with respectful delight: “Her behavior to my dear Charlotte,” he continues, “is charming. We dine at Rosings twice every week, and are never allowed to walk home. Her Ladyship"s carriage is regularly ordered for us. I should say, one of her Ladyship"s carriages, for she has several" . He cannot stress enough that Lady de Bourg has not one, but several crews. This elevates him in his own eyes. A distinctive feature of Mr. Collins is the need to flatter everyone who is significantly higher than him. He, without hesitation, tells the following about himself: “I have more than once observed to Lady Catherine, that her charming daughter seemed born to be a duchess, and that the most elevated rank... would be adorned by her.”

All of the above allows us to assert that Collins embodied both tendencies characteristic of English snobbery - groveling before superiors and a sense of self-superiority in relation to everyone else.

Interestingly, the name Collins has become a common noun in the English language, just like the name Dombey or Pickwick. Collins is pomposity, pomposity, sycophancy, intoxication with title and position. The image of Collins is characterized by significantly greater social content than the other characters discussed above. In this regard, humor here ultimately acquires a satirical sound.

Lady Catherine de Bourgh perfectly complements and sets off Collins,

which appears on the pages of the novel twice. Elizabeth meets-

with her when he comes to visit the Collinses. She is struck by the unceremonious

Monstrousness of the mistress of the estate: she considers herself entitled to question

Collins and Elizabeth about any details of their private life, including

hang out and give advice on how to run a household, etc. Another time

Lady de Bourg herself comes to the Bennet house. Now she's pouring on

Elizabeth is a real stream of abuse. She called the rumor about a possible

the rumor of her nephew, Mr. Darcy, and Elizabeth a vile invention, for-

thereby using threats and insults against Elizabeth and her

relatives. The authoritative and peremptory tone of her speech, the choice itself

words like the upstart, retentions of a young woman without family, connections, or fortune indicate not only hostility towards Elizabeth, but also the rudeness and unceremoniousness of this high-born lady.

The images of the heroes of the novel “Pride and Prejudice” bear traces of the influence of those mores and the morality that were dominant among the provincial classes of England at that time. We still see images of Osten’s heroes today, recognizing their speech or manner of behavior in people around us and acquaintances.

2. 3 The influence of the social environment on the formation of the characters of the heroes of the novel “Pride and Prejudice”

No matter how strong a person is, the social environment dictates its own principles and rules. Based on the degree of activity of the speakers and their role during the conversation, the reader can get an idea of ​​the social affiliation of the interlocutors, the essence of the relationship between them, since each person’s speech reflects his social consciousness. The topics of conversation are usually determined by the interlocutors, who in the novel represent the social “tops”. They have a “monopoly” in the conversation. Those who are dependent on their whim and favor due to their “low” origin adapt to these people. In conversations, they learn to “keep their distance.” .

Those who have a sense of pride and self-esteem do not stoop to ingratiation and flattery. But their relatively low social position often condemns them to the role of passive listeners or, conversely, forces them to speak when they want to remain silent.

In the psychologically and socially conditioned speech of the heroes, Austen highlights another important mental and spiritual phenomenon: their desire for self-affirmation. It is expressed, first of all, in the straightforward statements of the heroes about themselves and their affairs. In the speeches of people, not only those who are accustomed to the consciousness of their social superiority (Mr. Bingley and Darcy), but also those who grew up in an atmosphere of social humiliation (Mr. Collins, Mrs. Bennet), self-characterization is repeated more than once, full of complacency and exaggerated assessment of your personality. Miss Bingley’s review of local society is indicative: “They go out of their way to show off! There is so much insignificance and at the same time complacency in these people.”

Those characters who, by their position in society, are above ordinary provincials, emphasize this difference at every opportunity. Among not very rich provincials, Darcy clearly feels like a person of higher rank: “Mr. Darcy,” we read in the novel, “danced once each with Mrs. Hearst and Miss Bingley and did not want to be introduced to the other ladies.” Simply because he considers it beneath his dignity.

Darcy’s behavior outrages the entire local audience, his pride, pompousness and sense of self-superiority are clearly reflected in his next dialogue with Bingley, when he replies: “...Your sisters are invited, and besides them, there is not a single woman in the hall with whom you cannot dance.” It would be a real punishment for me." Although Darcy and Bingley come from the same environment, despite the established mentality of this “top of society,” their behavior is radically different, it’s just a phenomenon, how can they be so radically opposed to provincial society! If Mr. Bingley finds the company of a girl without an inheritance interesting and has sincere feelings for Jane, then Darcy challenges everyone present; he considers it a humiliation for himself to dance with Elizabeth only due to social and property prejudices.

Along with those who relentlessly follow social prejudices and the general opinion that they belong to a lower social class, there is also the exact opposite image of Elizabeth Bennet. She directly points out to people their shortcomings, ridicules them, cutting off all their principles and foundations.

Throughout the novel, class differentiation is evident, and all vices are attributed to origin, which to some extent is naturally true, but, on the other hand, a lot depends on how a person develops himself, what conclusions he is able to draw from the events that have occurred .

In the novel “Pride and Prejudice,” through the prism of the relationships between the Bennet, Bingley, Darcy, Collins, and Lucas families, we can observe traditions and morals typical of Austen’s contemporaries and judge the life of the English province. The main problems are problems of a material nature, against the background of which we evaluate the behavior of the characters, analyze their actions, their motives.

Re-reading “Pride and Prejudice”, you think more and more about the subtext, about what Austen did not lay out on the surface, veiling the motives of her characters’ behavior. And the understanding that behind the words and actions of the heroes is an established mentality, a way of thinking, and certain spiritual values ​​is becoming more and more clear between the lines.

3. Stylistic means of revealing characters in Jane Austen’s novel “Pride and Prejudice”

A study of Jane Austen's stylistic mastery shows that her extraordinary talent allowed her to create a work that, both in theme and in its entire structure, is a great and important event in the development of English realistic prose. Jane Austen's skillful stylistic skill creates a very vivid, very reliable picture of the morals, way of life, and life of a small provincial society.

N.M. Demurova noted that Jane Austen significantly expanded

la and enriched the method of “humors” characteristic of classicism, rejecting

having abandoned the division of heroes into villains, victims and reasoners.

Having thus noted Austen's characteristic realistic vision

characters, N.M. Demurova showed how it is embodied in the novel on

stylistic level. She, for example, believes that one of the innovative

one of J. Austin's techniques was the use of improperly direct re-

For example, Elizabeth’s initially hostile attitude towards Darcy gradually transforms into completely different feelings, and her internal and improperly direct speech, intertwined with the author’s narration, allows us to trace all the shades of this evolution. Thus, Elizabeth’s first reaction to everything she saw in Pemberley was expressed in her internal remark “And of this place,” she thought, “I might have been mistress!” This involuntary regret is replaced by a phrase in which she reminds herself: “...that could never be; my uncle and aunt would have been lost to me; I should not have been allowed to invite them." Her speech here indicates not so much regret about a missed opportunity in the past, but rather the complete impossibility for her of marrying such a snob who would not allow her to accept her relatives. But then, listening to Darcy's housekeeper, looking at his portrait, she begins to understand the scale of his personality. Each phrase in her internal monologue, marked with an exclamation mark, reveals her inner excitement, a gradual change in her assessments: “What praise is more valuable than the praise of an intelligent servant? As a brother, a landlord, a master, she considered how many people"s happiness were in his guardianship! How much of pleasure or pain it was in his power to bestow! How much of good or evil must be done by him!” .

Widely using improperly direct speech, Jane Austen

allows you to see the inner world of heroes in their most moments

strong emotional experiences and emotions. So, a series of short questions

corporal and exclamatory sentences spoken by Elizabeth

"to myself" after an unexpected meeting with Darcy at Pemberley, wonderful

conveys her excitement at this moment: “Her coming there was the

most unfortunate, the most ill-judged thing in the world! How strange must it

appear to him! In what a disgraceful light might it not strike so vain a man! It

might seem as if she had purposely thrown herself in his way again! Oh!

Why did she come? Or, why did he thus come a day before he was expected?

Austen was new not only in the multifaceted portraits she created of ordinary people against the backdrop of a social environment known to her down to the smallest manifestations, but also in the very language of her novel, an artistic system unique in its originality. The novelist's style has not yet been subjected to comprehensive analysis.

Unlike her predecessors and contemporaries, Austen strives, whenever possible, for an objective interpretation of life, preferring their direct depiction to stories about people, and this is one of the peculiar features of her style. The artist reveals the human essence mainly through the depiction of verbal communication between people. A very significant feature of Jane Austen’s poetics was noticed by T.A. Amelina. She writes: “The artist reveals the human essence mainly through the depiction of verbal communication between people, that is, direct and dialogical speech.”

“Well, listen, my dear,” continued Mrs. Bennet. - Netherfield, according to Mrs. Long, was taken by a very rich young man from the North of England.

And what is his name?

Is he married or single?

Single, dear, that's the point, single! A young bachelor with an income of four or five thousand a year! Isn't it a good opportunity for our girls?

How so? Does this have anything to do with them?

“Dear Mr. Bennet,” replied his wife, “you are simply unbearable today.” Of course, you understand that I mean his marriage to one of them.”

Austen's dialogue reveals the characters, individual life experiences, culture, and way of thinking of each character; it reflects the contradictions and dialectical processes of private life. By forcing the characters to talk about the subject of their mental, business, and everyday interests, the writer always penetrates into the most intimate motives hidden in the depths of the objective conditioning of statements. The psychologically determined speech of Austen's heroes is always reproduced as a manifestation of their historically determined consciousness. Thus, the entire social background and the depicted social phenomena appear with great artistic power and specificity.

“Isn’t it true, what a wonderful entertainment this is for young people, Mr. Darcy! Really, could there be anything more enjoyable than dancing? I find that dancing is one of the highest achievements of civilized society.

Quite right, sir. And at the same time, they are very common in a society untouched by civilization. Every savage can dance." .

Jane Austen, without any special authorial pressure, using mainly the means of linguistic characterization, which always includes vocabulary, syntactic structure, style, and intonation individual for each character’s speech, achieves a comprehensive disclosure of the characters. The individualization of the language of the characters serves in Austen at the same time as a means of its typification, with the help of which she characterizes people of a certain social appearance, mentality, psychology, exposing socially determined human vices.

For example, Mr. Collins. The base essence of his nature makes itself felt most of all during the most difficult period for the Bennet family: during the flight of Lydia with Wickham. Collins sends them a letter of “condolence.” The lexical composition of this letter is represented by sublime literary vocabulary: respectable family, present distress of the bitterest kind, the death as a blessing, augmented satisfaction, involved in disgrace, etc., behind which is hidden hypocritical sympathy in the grief that befell the respectable family, as well as and a great deal of gloating and self-satisfaction in the knowledge that, having been rejected by Elizabeth and married to Charlotte Lucas, he was now freed from having to share the shame of the Bennet family. .

The statements of heroes who strive to enrich themselves with reading and have a balanced character and the ability to think logically are distinguished by their harmony and completeness. This is typical of Mr. Darcy's speech, Elizabeth Bennet. The speech of heroes who think inconsistently and do not feel the need for enlightenment is as disordered and confused as their thoughts. This is the speech of Mrs. Bennet and Lydia Bennet.

The comic character - Mrs. Bennet - is a very impulsive and impatient creature. The essence of her character is perfectly revealed by each of her remarks. The lexical and syntactic composition of her dialogue is always simple: words from everyday use, abrupt exclamations and interrogative sentences that reveal the heroine’s vanity, her ineradicable curiosity: “Well, Jane, who is it from?” What is it about? What does he say? Well, Jane, make haste and tell us, make haste, my Love."

In depicting the character of Mrs. Bennet, J. Austen effectively uses

uses the dramatization of the narrative, i.e., it gives the opportunity to self-

statements to the character. For example, she calls Darcy

disagreeable, i.e. an unpleasant subject, and remains sincere in his

dislike for him: “I am quite sorry Lizzy, that you should be forced to have

that disagreeable man all to yourself; but I hope you won't mind. It is all for

Jane sake." But at the end of the same chapter it breaks through in a flood

enthusiastic cries: “...Mr. Darcy! Who would have thought it? And is it

really true? Oh my sweetest Lizzy! How rich and how great you will be!

What pin-money, what jewels, what carriages you will have! Jane's is nothing

to it – at all. I am so pleased - so happy." These exclamations are not

less sincere than what she said about Darcy earlier, although

they are opposite in meaning. This change of assessments in the speech part

Mrs. Bennet creates a visible image of a truly comic heroine.

But there are characters in the novel who are not outlined in soft comic terms.

our strokes, but truly satirical. Unlike the main characters

mana, who are constantly learning to better understand themselves and each other,

who sincerely experience their mistakes and shortcomings, comically

Chinese and, in particular, satirical characters do not undergo any

changes in its development.

In “Pride and Prejudice” the following compositional techniques are used:

principles of a realistic novel, as a complex system of characters,

a complex subjective organization of the text, in which the dominant role belongs to the impersonal narration, but where each character, not only the main one, but also the secondary one, thanks to dramatization and the inclusion of improperly direct speech, gets the opportunity to express himself as if independently.

For the first time in the history of English literature, works of prose are marked by such an obvious predominance of indirect means of characterizing reality. The main functions of indirect analysis and generalization of phenomena are assigned to dialogue, which in this case became the basis of poetics. It is not for nothing that Jane Austen is called a master of dialogue, because through direct speech, peculiarities of expressions and phrases, and the semantics of sentences, the author paints for us the life that was so close and familiar to her.

CONCLUSIONS

Drawing parallels between the work of Jane Austen and her biography, our study deeply reveals the influence of the province in which the writer grew up on the formation of her worldview and creativity, and also revealed the correspondence between the content of her novel “Pride and Prejudice” and the events that took place in her life Osten herself. Therefore, it is natural that the actions in the novel “Pride and Prejudice” develop among provincial English families. In the images of her heroes you can see individual character traits of the people around her.

The study analyzed the image of provincial England of the late 18th - early 19th centuries as a key element of the artistic space in the novel “Pride and Prejudice”. The writer chose the artistic space in which she lived. Thus, the novel achieves a realistic depiction of the morals, way of life and life of a small provincial society. Concentrating on the ordinary, the everyday, Austen reveals to us with all authenticity the life of her generation. Thus, the entire social background and the depicted social phenomena appear with great artistic power and specificity. The image of the province in the novel is seen as an important characteristic of the lifestyle and morality of the English provincial nobles. Based on the above, it follows that the novel is of historical value, since it is a kind of encyclopedia of provincial life in England at the end of the 18th and beginning of the 19th centuries.

Having examined in the work the mental priorities and stereotypes of the provincial English environment, we can draw a conclusion about the social and property differences that dominated within the class of provincial nobles in England at the end of the 18th - beginning of the 19th centuries. Due to the fact that the characters in the novel are viewed from the angle of property interests, one can identify such characteristic features of provincial heroes as limited interests, pompousness, unprincipledness, sycophancy, selfishness, self-interest, and immorality. The novel clearly outlines the range of problems that plague the society of English provincials and aptly notes their shortcomings, among which snobbery stands out most clearly.

The images of the heroes of the novel “Pride and Prejudice” bear traces of the influence of those mores and the morality that were dominant among the provincial classes of England at that time. Thus, we can talk about the influence of the social environment on the character of the characters in the novel “Pride and Prejudice”.

An analysis of the mechanism of functioning of stylistic devices showed that with their help Jane Austen was able to create living, full-blooded characters of the heroes of the novel “Pride and Prejudice”. For example, one of J. Austin's innovative techniques was the use of improperly direct speech. For the first time in English literature, the dialogue developed by Austen, which reveals the behavior of the characters, their psychology, and moral character, becomes the basis of poetics, a means of expressing the author’s point of view.

The analysis of the image of the province in Jane Austen’s novel “Pride and Prejudice” is a voluminous and meaningful, constructive and logically consistent philological research work, the results of which can subsequently be used to write a thesis.

LIST OF REFERENCES USED

1. Amelina T.A. Dialogue in Jane Austen's novels // Belsky A.A. – English novel of 1800-1810: Textbook for a special course for students of philology. fak. /A.A. Belsky; Editorial team: M.A. Gennel (chief ed.) and others; Perm State University named after. A.M. Gorky - Perm: PSU, 1968. - 32 p.

2. English literature, 1945-1980 / [A. P. Sarukhanyan, G. A. Andzhaparidze, G. V. Anikin, etc.] ; Rep. ed. A. P. Sarukhanyan; Academician Sciences of the USSR; Institute of World Lit. them. A. M. Gorky. - M.: Nauka, 1987. - 510 p.

3. Anikin G.V. History of English literature: [Textbook for students of pedagogy. in-tov i fak. foreign language specialty No. 2103 "Foreign language"] / G.V. Anikin, N.P. Mikhalskaya. - 2nd ed. - M.: Higher School, 1985. - 431 p.

4. Artemenko O.E. Semantics of lexical interpretations in the language of Jane Austen's novel "Pride and Caution" and their translations into Russian: Author's abstract. dis. for the job application scientist step. Ph.D. Philol. Sciences (10.02.19) / Kuban. state univ. - Krasnodar, 2003. - 21 p.

5. Bazyleva O. Thank you J. Osten // Book. Review. - 2006. - No. 38. – p. 45-60.

6. Belsky A. A. English novel of 1800-1810: Textbook. manual for a special course for students of philology. fak. / A. A. Belsky; Editorial team: M. A. Genkel (chief editor) and others; Perm. state University named after A. M. Gorky. - Perm: B. i., 1968. - 333 p.

7. Woolf V. Jane Austen // Foreign novel. Problems of method and genre: Interuniversity collection of scientific works/Perm State University named after. A.M. Gorky - Perm: PSU, 1982. -

8. Genieva E.Yu. Jane Austen: Bible. Decree. /Ans. ed. M.V. Chechetko. – M.: Publishing House, 1986. – p. 57

9. Davydova T.T. Theory of literature: Textbook. manual for specialties 021500 - Ed. business and editing, 021600 - Book distribution / T. T. Davydova, V. A. Pronin. - M.: Logos, 2003. - 232 p.

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14. Ivasheva V.V. The fate of English writers: Dialogues yesterday and today / V. V. Ivasheva. - M.: Sov. writer, 1989. - 443, p. 120-145.

15. Klimenko E.I. English literature of the first half of the 19th century: (Essay on development) / E. I. Klimenko; Leningr. state University named after A. A. Zhdanova. - L.: Publishing house Leningr. University, 1971. - 144 p.

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19. Strukova E. Grand ladies of a love story: Touches to the creative biography of Jane Austen. // Book. Review. – 1999- No. 30, p. 27-33.

20. Timofeev L.P. - Fundamentals of literary theory. M., 1971. – 372 p.

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26. Bradbrook Frank W. – Jane Austen a. Her Predecessors. – Cambr. Univ., 1967, p. 150.

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29. J. Austen Pride and Prejudice. Foreign Languages ​​Publishing House, M., p. 356

I read Pride and Prejudice during two of my trips. It just so happened that the most significant Jane Austen, cover to cover, was read on wheels. I have two feelings about Jane Austen! On the one hand, I can’t understand why I considered her to be the great novelist Somerset Maugham (who, by the way, is really wonderful), as well as modern compilers of all sorts of literary tops. On the other hand, her smooth, somehow fluid narrative really captivates. No grand scale, just leisurely life and, in general, insignificant heroes.

The plot of the novel is unknown only to the lazy: if anyone has not read the book itself, then they have definitely seen one of the many film adaptations. An intricate love story between two people: Mr. Darcy, a sophisticated and reserved aristocrat, and Miss Elizabeth Bennet, a lively and spontaneous girl standing much lower than Darcy on the class ladder. The first is in the shackles of pride, the second is in captivity of prejudice and prejudice.

Gradually, in an incredibly difficult way, they master the art of mutual understanding. True, this thread of the novel is in many ways reminiscent of a sitcom: someone misunderstood something, someone by chance did not receive the letter explaining everything, and then left, missing each other by just a split second! But all these situations are written out so subtly, without the slightest bit of comedy, that they do not cause any rejection. Everything is very timely and correct.

In addition to Darcy and Elizabeth, there are other significant figures in the novel. For example, Elizabeth's father, Mr. Bennet. Having married, when he was young, a sweet and pretty girl, he very soon realized that behind the pretty façade only greed and phenomenal stupidity were hidden. Aloof and caustic, he spends all his time in the vast library, laughing at his wife’s stupidity. In this generally faded situation, Jane most clearly reveals her entire attitude to the “bride fair” and arranged marriages in general (which were then completely common! Bad manners were considered rather a marriage of unreasonable love).

Now speeches about the immorality of such marriages have long become familiar and banal. But then, at the height of the season, say out loud that money cannot become a single measure of happiness! It was really brave.

Perhaps this story was Austen's own dream. A happy marriage of two absolutely unequal people was to some extent a utopia, especially at that time, and especially in conservative-minded Britain. And Austen herself (who, as we know, never married, and lived in her parents’ house until the end of her days) makes it clear that it is better to live life this way than in an unhappy marriage-deal.

Transcript

1 ELECTRONIC SCIENTIFIC JOURNAL “APRIORI. SERIES: HUMANITIES" FEATURES OF THE AUTHOR'S STYLE JANE AUSTIN IN THE NOVEL "PRIDE AND PREJUDICE" Lopukhova Elena Borisovna student Nizhny Novgorod State University. N.I. Lobachevsky Arzamas Abstract. The article presents the results of a study of the specifics of Jane Austen's author's style, manifested in the novel “Pride and Prejudice”. The text of the article highlights the themes and problems of the novel, analyzes the image of Victorian England, illustrated by the writer. The research material also presents cases of the most interesting stylistic decisions of Jane Austen in the process of creating a special figurative space of the work. Key words: literary analysis, theme, problematics, figurative system of the work, stylistic device. FEATURES OF AUTHOR S STYLE OF JANE AUSTEN IN THE NOVEL “PRIDE AND PREJUDICE” Lopukhova Elena Borisovna student Nizhny Novgorod State University of N.I. Lobachevsky Arzamas Abstract. Results of the research of Jane Austen author s style specifics shown in the novel “Pride and Prejudice” are presented in the article. The subject and a perspective of the novel are covered in the text of the article; the image of the Victorian England illustrated by the writer is analyzed. Also the cases of the most interesting Jane Austen s stylistic decisions in the process of creation a special figurative space of the work are presented in material of the research. Keywords: literary analysis, subject, perspective, figurative system of the novel, stylistic device. 1

2 Today it is difficult to find an area that remains unexplored in relation to Jane Austen's novel Pride and Prejudice. This novel is the most famous work of the writer, and one of the most famous in the history of literature. The popularity of the novel is due to many factors: it reveals current problems of society and touches upon topics of interest to the reader. And, of course, all this is written in an interesting language that defines the author's style of Jane Austen. Despite the large number of works devoted to the novel “Pride and Prejudice,” some aspects remain unexplored to this day. In this regard, there is a need for more in-depth research. The novel “Pride and Prejudice” is distinguished by its thematic diversity. It closely intertwines different problems and interests of society. The novel pays considerable attention to the social customs and mores of the upper class of England at the beginning of the 19th century. Thus, Lady Catherine addresses one of the most common social customs: “Young women should always be properly guarded and attended, according to their situation in life.” Pride and Prejudice contains one of the most cherished love stories in English literature: Darcy's courtship of Elizabeth. The theme of love between the main characters runs through the novel as a leitmotif. The emergence of a mutual and tender love between Darcy and Elizabeth seems to imply that Austen views it as something independent of social forces, as something that can be grasped if only the individual can escape the distorting effects of a hierarchical society. Along with the theme of love, it is also advisable to highlight the theme of marriage. The work clearly highlights the idea that marriage and love do not always go together. The very first phrase of the novel that became famous sounds 2

3 as follows: “It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife.” It is thanks to this phrase that the reader understands the importance of marriage, which it was endowed with in the structure of society in Victorian England. In the society that Austen demonstrates, reputation defines a person: going beyond social norms makes an individual vulnerable to ostracism. The situation that happened to one of the heroines of the novel, Lydia, demonstrates the importance of reputation most clearly. Thus, reputation is another theme of the novel. Jane Austen comprehensively illuminated the problem of class in Victorian England. The writer turns to satire when describing class consciousness, especially in Collins's character, the man spends much of his time bowing to his high-ranking patron, Lady Catherine de Bourgh. One of the most striking markers indicating class consciousness can be seen in the following words: “Lady Catherine is far from requiring that elegance of dress in us which becomes herself and her daughter. I could advise you simply to put on whatever of your clothes is superior to the rest there is no occasion for anything more. Lady Catherine will not think the worse of you for being simply dressed. She likes to have the distinction of rank preserved." Lady Catherine, who is the personification of “high society” in the novel, pays special attention to the appearance of people; she likes it so that the social difference is preserved and is so obvious that it is expressed even in clothing. Jane Austen, through the totality of images and actions of the characters, demonstrated the hierarchical structure of society, the inequality of its members, and the presence of a large number of prejudices. One of the most common prejudices implied that not every marriage could be consummated. The position of women was insignificant; they had little power in making independent decisions. 3

4 It is quite obvious that Jane Austen considers such a society unproductive, and therefore it is invisibly ridiculed throughout the work. The content of the novel is of interest to the reader not only because of the richness of events, but also because of the truthful presentation of the problems of society. However, as noted earlier, not only the content, but also the stylistic design of the work is very specific and interesting for literary research. Analysis of the compositional structure of the work demonstrates its canonicity. The hook comes from the very first line of the novel; The first act demonstrates the characters and the features of their relationships. The recipient encounters the first plot point when, after the ball in Netherfield Park, Darcy and Caroline convince Bingley to return to London and forget about his growing love for Jane. Deviating the characters' motivations and reactions completely changes the setting of the story, as several prominent characters the Bennetts interact with are no longer in the neighborhood. The inciting event is undoubtedly the arrival of Bingley and Darcy in Meryton. The central point of the plot can be called the moment when Darcy proposes to the main character, who, in turn, rejects him. The third plot point can be seen when Lydia runs away with Mr. Wickham. The climax of the work comes when the two main characters finally unite and admit their love for each other. After the climax, Jane Austen ties up all the loose ends in a few neat scenes that include Bennett's reaction to their engagement: “Her father was walking about the room, looking grave and anxious. “Lizzy, he said, what are you doing? Are you out of your feelings, to be accepting this man? Have not you always hated him?” This moment can be called a resolution. Despite the quite standard compositional design, 4

5 Jane Austen does add some specificity to the novel, such as the rather rapid development of each character. All events in the novel “Pride and Prejudice” are connected and consistent, which makes it possible to most effectively not only reveal the plot and characters of the book, but also the problems of the work. Jane Austen managed to create an ambiguous system of character images in the work. In the process of reading, the recipient encounters different personalities, their characters, habits, strengths and weaknesses. Elizabeth Bennet is the main character and she is presented as a beautiful, intelligent and noble girl. Darcy is a kind of male counterpart to Elizabeth. The remaining characters can be called minor, but none of them is repeated: the writer managed to create a specific image for each of them. There is some symbolism in the novel, expressed through the estates. When Lizzie gets to the Rosings estate, she is definitely impressed: “Handsome, modern building with a nice park<...>enumeration of the windows in front of the house, and his relation of what the glazing altogether had cost Sir Lewis de Bourgh." After visiting Pemberley, Elizabeth demonstrates a completely different reaction: “It was a large, handsome stone building, standing well on rising ground, and backed by a ridge of high woody hills; and in front, a stream of some natural importance was swelled into greater, but without any artificial appearance<...>. They were all of them warm in their admiration; and at that moment she felt that to be mistress of Pemberley might be something!” . The splendor of the Pemberley estate is combined with its naturalness, and therefore it is the symbol of Darcy himself in the novel. At first glance, Lady Catherine and Darcy look quite similar: they are both arrogant, cold and proud. But, thanks to their estates, the reader understands that inside they are completely different people. Letters are also a symbol of the work. In a novel where the spoken word 5

6 rules everything, and where personal thoughts do not have significant reflection on the page, letters are a kind of “reserves” for the inner life of the characters. The ball is a kind of allegory in the novel. It was at such events in Victorian England that the search for a life partner was carried out. Balls are a way to form, strengthen and test community bonds. The entire work is filled with the stylistic device of irony. Typically, it is used to ridicule characters and their narrow views. For example, the writer uses irony to describe Mrs. Bennet in an even more ridiculous light when she talks to Elizabeth about her unfulfilled hopes for Jane: “Well, my comfort is, I am sure Jane will die of a broken heart, and then he will be sorry for what he has done." This ironic statement demonstrates the misplaced values ​​that Mrs. Bennet possesses. Jane Austen also uses satire to highlight the ridiculous norms of society. For example, in the next scene, Austen demonstrates the surprise of those present at the appearance of Elizabeth, whose attire runs counter to the ideas of a “refined” society: “with weary ankles, dirty stockings, and a face glowing with the warmth of exercise.” She was shown into the breakfast parlour, where all but Jane were assembled, and where her appearance created a great deal of surprise.” Metaphor and figurative comparison are found on almost every page of the work: “...if you lament over him much longer, my heart will be as light as a feather.” This example reveals Elizabeth's comparison of her heart to a feather. Hyperbole is also quite common in the text of the work. So, for example, through hyperbole the narrator explains how 6

7 Mr. Bennet misses his daughter very much: “His affection for her drew him oftener from home than anything else could do.” The use of contrast allows Jane Austen to solve a number of communicative problems, one of which is the creation of a figurative system of the work: “Bingley was sure of being liked wherever he appeared, Darcy was continually giving offense.” By mentioning Darcy's "offensive" qualities, the positive qualities of the second character, Bingley, are only enhanced. This provokes the reader to construct their own images of these characters, as well as to understand why people like Bingley so much more than Darcy, as demonstrated at the beginning of the novel. With the help of alliteration, Jane Austen enhances the significance of the thoughts and actions of the characters, which allows the recipient to remember the most significant moments of the narrative: “From the farther disadvantage of Lydia’s society she was of course carefully kept.” Antiptosis details new circumstances that every family should become aware of: “I wish I could say, for the sake of her family.” The vocabulary that Jane Austen uses in her work is archaic, which is quite natural for the period in which the novel was written. It should also be noted that the writer alternates sentences of different lengths: the first is short, the second is longer. This alternation of sentences creates the necessary structure, since if short sentences are used excessively, the text becomes "wavy" and difficult to understand. The sentence length allows the reader to read the novel smoothly. The style chosen by Jane Austen was determined to create patterns and meanings from sentence structure and use of vocabulary. The conducted research allows us to highlight the main features of Jane Austen’s author’s style, among which 7

8 humor, criticizing class society, and significant symbolism, which can be called a specific literary strategy of the writer. The totality of subject-logical and expressive-stylistic information that the writer endowed with her work determines its specificity, distinguishing it from a number of other novels and making it one of the most significant in world literature. List of sources used 1. Austen J. Pride and Prejudice. San Francisco: Ignatus Press, p. 2. Toolan M. Language in Literature: An Introduction to Stylistics. London: Hodder Arnold, p. 3. MacDonagh O. Jane Austen: Real and Imagined Worlds. New Haven: Yale University Press, p. 4. Filipenko S.A. Difficulties of philological text analysis. Voronezh: Aspect, p. 5. Galperin I.R. Experiments in stylistic analysis (in English). M.: Higher school, p. 6. Galperin I.R. Text as an object of linguistic research. M.: Science, p. APRIORI. Series: Humanities apriori-journal.ru Media El FS ISSN

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