About Pride and Prejudice

Publication History and Critical Reception

Pride and Prejudice, probably the most popular of Austen's finished novels, was also, in
a sense, the first to be composed. The original version, First Impressions, was
completed by 1797, but was rejected for publication — no copy of the original has
survived. The work was rewritten around 1812 and published in 1813 as Pride and
Prejudice. The final form must have been a thorough rewriting of the original effort, for it
is representative of the mature Austen. Moreover, the story clearly takes place in the
early nineteenth century rather than in the late eighteenth century.

Austen's works, including Pride and Prejudice, were barely noticed by critics during her
lifetime. Pride and Prejudice sold fairly well — the first edition sold out at about 1,500
copies. Critics who eventually reviewed it in the early part of the nineteenth century
praised Austen's characterizations and portrayal of everyday life. After Austen's death in
1817, the book continued to be published and read with little attention from critics for the
next fifty years. The few critical comments made during that time continued to focus on
her skill at creating characters, as well as on her technical mastery. In 1870, probably
the most significant nineteenth-century critical article on Austen was published by
Richard Simpson; in the article, Simpson discussed the complexity of Austen's work,
including her use of irony.

Modern Austen scholarship began in 1939 with the publication of Jane Austen and Her
Art, by Mary Lascelle. The scope and vision of that book prompted other scholars to
take a closer look at Austen's works. Pride and Prejudice began getting serious
attention in the 1940s and has continued to be studied heavily since that time. Modern
critics take a variety of approaches to the novel, including historical, economical,
feminist, and linguistic.

Various critics have consistently noted that the plot development of Pride and
Prejudice is determined by character — coincidence exerts a major influence, but turns
of action are precipitated by character. Although human weakness is a prominent
element, ranging from Miss Bingley's jealousy to Elizabeth's blind prejudices, outright
evil is little in evidence. Austen maintains an attitude of good-humored irony toward her
characters.

Historical Context of Pride and Prejudice

During Austen's career, Romanticism reached its zenith of acceptance and influence,
but she rejected the tenets of that movement. The romantics extolled the power of
feeling, whereas Austen upheld the supremacy of the rational faculty. Romanticism
advocated the abandonment of restraint; Austen was a staunch exponent of the neo-
classical belief in order and discipline. The romantics saw in nature a transcendental
power to stimulate men to better the existing order of things, which they saw as
essentially tragic in its existing state. Austen supported traditional values and the
established norms, and viewed the human condition in the comic spirit. The romantics
exuberantly celebrated natural beauty, but Austen's dramatic technique decreed sparse
description of setting. The beauties of nature are seldom detailed in her work.

Just as Austen's works display little evidence of the Romantic movement, they also
reveal no awareness of the international upheavals and consequent turmoil in England
that took place during her lifetime. Keep in mind, however, that such forces were remote
from the restricted world that she depicts. Tumultuous affairs, such as the Napoleonic
wars, in her day did not significantly affect the daily lives of middle-class provincial
families. The ranks of the military were recruited from the lower orders of the populace,
leaving gentlemen to purchase a commission, the way Wickham does in the novel, and
thereby become officers.

Additionally, the advancement of technology had not yet disrupted the stately
eighteenth-century patterns of rural life. The effects of the industrial revolution, with its
economic and social repercussions, were still most sharply felt by the underprivileged
laboring classes. Unrest was widespread, but the great reforms that would launch a new
era of English political life did not come until later. Consequently, newer technology that
existed in England at the time of Pride and Prejudice's publication does not appear in
the work.

General Critique of Pride and Prejudice

Pride and Prejudice continues to be popular today not only because of its memorable
characters and the general appeal of the story, but also because of the skill with which it
is told. In Pride and Prejudice, Austen displays a masterful use of irony, dialogue, and
realism that support the character development and heighten the experience of reading
the novel.

Jane Austen's irony is devastating in its exposure of foolishness and hypocrisy. Self-
delusion or the attempt to fool other people is almost always the object of her wit; note
how she has Elizabeth say that she hopes she will never laugh at what is wise or good.

The reader finds various forms of exquisite irony in Pride and Prejudice: Sometimes the
characters are unconsciously ironic, as when Mrs. Bennet seriously asserts
that she would never accept any entailed property, though Mr. Collins is willing to; other
times, Mr. Bennet and Elizabeth serve to directly express the author's ironic opinion.
When Mary Bennet is the only daughter at home and doesn't have to be compared to
her prettier sisters, the author observes that "it was suspected by her father that she
submitted to the change without much reluctance." Mr. Bennet turns his wit on himself
during the crisis with Wickham and Lydia — "let me once in my life feel how much I
have been to blame. I am not afraid of being overpowered by the impression. It will pass
away soon enough."

Elizabeth's irony is lighthearted when Jane asks when she began to love Mr. Darcy. "It
has been coming on so gradually that I hardly know when it began. But I believe I must
date it from my first seeing his beautiful grounds at Pemberley." She can be bitterly
cutting, however, in her remark on Darcy's role in separating Bingley and Jane. "Mr.
Darcy is uncommonly kind to Mr. Bingley, and takes a prodigious deal of care of him."

The author, independent of any character, uses irony in the narrative parts for some of
her sharpest — but often unnoticed — judgments. The Meryton community is glad that
Lydia is marrying such a worthless man as Wickham: "and the good-natured wishes for
her well-doing, which had proceeded before from all the spiteful old ladies in Meryton,
lost but little of their spirit in this change of circumstances, because with such a
husband, her misery was certain."

Austen uses irony to both provoke whimsical laughter and to make veiled, bitter
observations. In her hands — and few others are more capable and discriminating —
irony is an extremely effective device for moral evaluation.

Dialogue also plays an important role in Pride and Prejudice. The novel opens with a
talk between Mrs. Bennet and her husband: "'My dear Mr. Bennet,' said his lady to him
one day, 'have you heard that Netherfield is let at last?'" In the conversation that follows,
we learn a great deal — about Mrs. Bennet's preoccupation with marrying off her
daughters, Mr. Bennet's ironic and sarcastic attitude toward his wife, and her self-pitying
nature. The stage is effortlessly set for the family's introduction to the Bingley group,
and the dialogue has given us information on both incidents of plot and the attitudes
which drive the characters.

The pieces of dialogue are consistently the most vivid and important parts of the novel.
This is natural because novels were mostly read aloud in Austen's time, so good
dialogue was extremely important. We learn of the major turning points through the
dialogue, and even intense inner change like Elizabeth's famous self-recognition scene
("How despicably have I acted!") is related as a person talking to herself.

Each character's speeches are individually appropriate and the most telling way of
revealing what each is like. Elizabeth's talk is forthright and sparkling, her father's is
sarcastic, Mr. Collin's speeches are tedious and silly, and Lydia's fountain of words is all
frivolity and no substance.

The things that happen in Pride and Prejudice happen to nearly all readers —
embarrassment at the foolishness of relatives, the unsteady feelings of falling in love,
and the chagrin of suddenly realizing a big mistake. The psychological realism of the
novel is revealed in the quick recognition we have of how the key characters feel.

It is very natural for Elizabeth and Darcy to be angry at each other after she first turns
him down, and it is very natural for them to feel twinges of regret, and then have a
complete change of mind with the passage of time. Every step in their progress toward
each other is described with a sensitivity to how people feel and act. In the subtle and
beautiful description of Elizabeth's self-realization is a convincing view of how an
intelligent, feeling person changes.
When considering Austen's realism, however, readers should recognize that her major
weakness as a writer is related to her greatest strength. She writes about what she
knows — and this means that great areas of human experience are never touched on.
We never see that much of the male characters, and they are rough sketches compared
with her heroines. Extreme passions are usually avoided in her writing, and this
becomes noticeable when, for example, she moves to a very impersonal, abstract voice
when Elizabeth accepts Darcy: Elizabeth "immediately, though not very fluently, gave
him to understand that her sentiments had undergone so material a change . . . as to
make her receive with gratitude and pleasure his present assurances." People who
dislike Austen's works often cite this lack of extreme emotions as their main reason.
Even so, no one can deny her ability to create unforgettable characters, build well-
structured plots, or deliver assessments of society with a razor-sharp wit. Austen's
works possess a timeless quality, which makes her stories and themes as relevant
today as they were two hundred years ago.