1、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 the first sentence of Pride and Prejudice and stands as one of the most famous first lines in literature. Even as it briskly introduces the arrival of Mr. Bingley at Netherfie
2、ld, the event that sets the novel in motion, this sentence also offers a miniature sketch of the entire plot, which concerns itself with the pursuit of “single men in possession of a good fortune” by various female characters. The preoccupation with socially advantageous marriage in nineteenth-centu
3、ry English society manifests itself here, for in claiming that a single man “must be in want of a wife,” the narrator reveals that the reverse is also true: a single woman, whose socially prescribed options are quite limited, is in (perhaps desperate) want of a husband.The news that a wealthy young
4、gentleman named Charles Bingley has rented the manor known as Netherfield Park causes a great stir in the neighboring village of Longbourn, especially in the Bennet household. The Bennets have five unmarried daughters, and Mrs. Bennet, a foolish and fussy gossip, is the sort who agrees with the nove
5、ls opening words: “It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.” She sees Bingleys arrival as an opportunity for one of the girls to obtain a wealthy spouse, and she therefore insists that her husband call on the new arrival im
6、mediately. Mr. Bennet torments his family by pretending to have no interest in doing so, but he eventually meets with Mr. Bingley without their knowing. When he reveals to Mrs. Bennet and his daughters that he has made their new neighbors acquaintance, they are overjoyed and excited.Mr. Bennet is th
7、e patriarch of the Bennet householdthe husband of Mrs. Bennet and the father of Jane, Elizabeth, Lydia, Kitty, and Mary. He is a man driven to exasperation by his ridiculous wife and difficult daughters. He reacts by withdrawing from his family and assuming a detached attitude punctuated by bursts o
8、f sarcastic humor. He is closest to Elizabeth because they are the two most intelligent Bennets. Initially, his dry wit and self-possession in the face of his wifes hysteria make him a sympathetic figure, but, though he remains likable throughout, the reader gradually loses respect for him as it bec
9、omes clear that the price of his detachment is considerable. Detached from his family, he is a weak father and, at critical moments, fails his family. In particular, his foolish indulgence of Lydias immature behavior nearly leads to general disgrace when she elopes with Wickham. Further, upon her di
10、sappearance, he proves largely ineffective. It is left to Mr. Gardiner and Darcy to track Lydia down and rectify the situation. Ultimately, Mr. Bennet would rather withdraw from the world than cope with it.Mrs. Bennet is a miraculously tiresome character. Noisy and foolish, she is a woman consumed b
11、y the desire to see her daughters married and seems to care for nothing else in the world. Ironically, her single-minded pursuit of this goal tends to backfire, as her lack of social graces alienates the very people (Darcy and Bingley) whom she tries desperately to attract. Austen uses her continual
12、ly to highlight the necessity of marriage for young women. Mrs. Bennet also serves as a middle-class counterpoint to such upper-class snobs as Lady Catherine and Miss Bingley, demonstrating that foolishness can be found at every level of society. In the end, however, Mrs. Bennet proves such an unatt
13、ractive figure, lacking redeeming characteristics of any kind, that some readers have accused Austen of unfairness in portraying heras if Austen, like Mr. Bennet, took perverse pleasure in poking fun at a woman already scorned as a result of her ill breeding.The second daughter in the Bennet family,
14、 and the most intelligent and quick-witted, Elizabeth is the protagonist of Pride and Prejudice and one of the most well-known female characters in English literature. Her admirable qualities are numerousshe is lovely, clever, and, in a novel defined by dialogue, she converses as brilliantly as anyo
15、ne. Her honesty, virtue, and lively wit enable her to rise above the nonsense and bad behavior that pervade her class-bound and often spiteful society. Nevertheless, her sharp tongue and tendency to make hasty judgments often lead her astray; Pride and Prejudice is essentially the story of how she (
16、and her true love, Darcy) overcome all obstaclesincluding their own personal failingsto find romantic happiness. Elizabeth must not only cope with a hopeless mother, a distant father, two badly behaved younger siblings, and several snobbish, antagonizing females, she must also overcome her own mista
17、ken impressions of Darcy, which initially lead her to reject his proposals of marriage. Her charms are sufficient to keep him interested, fortunately, while she navigates familial and social turmoil. As she gradually comes to recognize the nobility of Darcys character, she realizes the error of her
18、initial prejudice against him.The son of a wealthy, well-established family and the master of the great estate of Pemberley, Darcy is Elizabeths male counterpart. The narrator relates Elizabeths point of view of events more often than Darcys, so Elizabeth often seems a more sympathetic figure. The r
19、eader eventually realizes, however, that Darcy is her ideal match. Intelligent and forthright, he too has a tendency to judge too hastily and harshly, and his high birth and wealth make him overly proud and overly conscious of his social status. Indeed, his haughtiness makes him initially bungle his
20、 courtship. When he proposes to her, for instance, he dwells more on how unsuitable a match she is than on her charms, beauty, or anything else complimentary. Her rejection of his advances builds a kind of humility in him. Darcy demonstrates his continued devotion to Elizabeth, in spite of his dista
21、ste for her low connections, when he rescues Lydia and the entire Bennet family from disgrace, and when he goes against the wishes of his haughty aunt, Lady Catherine de Bourgh, by continuing to pursue Elizabeth. Darcy proves himself worthy of Elizabeth, and she ends up repenting her earlier, overly
22、 harsh judgment of him.ThemesThemes are the fundamental and often universal ideas explored in a literary work.LovePride and Prejudice contains one of the most cherished love stories in English literature: the courtship between Darcy and Elizabeth. As in any good love story, the lovers must elude and
23、 overcome numerous stumbling blocks, beginning with the tensions caused by the lovers own personal qualities. Elizabeths pride makes her misjudge Darcy on the basis of a poor first impression, while Darcys prejudice against Elizabeths poor social standing blinds him, for a time, to her many virtues.
24、 (Of course, one could also say that Elizabeth is guilty of prejudice and Darcy of pridethe title cuts both ways.) Austen, meanwhile, poses countless smaller obstacles to the realization of the love between Elizabeth and Darcy, including Lady Catherines attempt to control her nephew, Miss Bingleys s
25、nobbery, Mrs. Bennets idiocy, and Wickhams deceit. In each case, anxieties about social connections, or the desire for better social connections, interfere with the workings of love. Darcy and Elizabeths realization of a mutual and tender love seems to imply that Austen views love as something indep
26、endent of these social forces, as something that can be captured if only an individual is able to escape the warping effects of hierarchical society. Austen does sound some more realist (or, one could say, cynical) notes about love, using the character of Charlotte Lucas, who marries the buffoon Mr.
27、 Collins for his money, to demonstrate that the heart does not always dictate marriage. Yet with her central characters, Austen suggests that true love is a force separate from society and one that can conquer even the most difficult of circumstances.ReputationPride and Prejudice depicts a society i
28、n which a womans reputation is of the utmost importance. A woman is expected to behave in certain ways. Stepping outside the social norms makes her vulnerable to ostracism. This theme appears in the novel, when Elizabeth walks to Netherfield and arrives with muddy skirts, to the shock of the reputat
29、ion-conscious Miss Bingley and her friends. At other points, the ill-mannered, ridiculous behavior of Mrs. Bennet gives her a bad reputation with the more refined (and snobbish) Darcys and Bingleys. Austen pokes gentle fun at the snobs in these examples, but later in the novel, when Lydia elopes wit
30、h Wickham and lives with him out of wedlock, the author treats reputation as a very serious matter. By becoming Wickhams lover without benefit of marriage, Lydia clearly places herself outside the social pale, and her disgrace threatens the entire Bennet family. The fact that Lydias judgment, howeve
31、r terrible, would likely have condemned the other Bennet sisters to marriageless lives seems grossly unfair. Why should Elizabeths reputation suffer along with Lydias? Darcys intervention on the Bennets behalf thus becomes all the more generous, but some readers might resent that such an interventio
32、n was necessary at all. If Darcys money had failed to convince Wickham to marry Lydia, would Darcy have still married Elizabeth? Does his transcendence of prejudice extend that far? The happy ending of Pride and Prejudice is certainly emotionally satisfying, but in many ways it leaves the theme of r
33、eputation, and the importance placed on reputation, unexplored. One can ask of Pride and Prejudice, to what extent does it critique social structures, and to what extent does it simply accept their inevitability?ClassThe theme of class is related to reputation, in that both reflect the strictly regi
34、mented nature of life for the middle and upper classes in Regency England. The lines of class are strictly drawn. While the Bennets, who are middle class, may socialize with the upper-class Bingleys and Darcys, they are clearly their social inferiors and are treated as such. Austen satirizes this ki
35、nd of class-consciousness, particularly in the character of Mr. Collins, who spends most of his time toadying to his upper-class patron, Lady Catherine de Bourgh. Though Mr. Collins offers an extreme example, he is not the only one to hold such views. His conception of the importance of class is sha
36、red, among others, by Mr. Darcy, who believes in the dignity of his lineage; Miss Bingley, who dislikes anyone not as socially accepted as she is; and Wickham, who will do anything he can to get enough money to raise himself into a higher station. Mr. Collinss views are merely the most extreme and o
37、bvious. The satire directed at Mr. Collins is therefore also more subtly directed at the entire social hierarchy and the conception of all those within it at its correctness, in complete disregard of other, more worthy virtues. Through the Darcy-Elizabeth and Bingley-Jane marriages, Austen shows the
38、 power of love and happiness to overcome class boundaries and prejudices, thereby implying that such prejudices are hollow, unfeeling, and unproductive. Of course, this whole discussion of class must be made with the understanding that Austen herself is often criticized as being a classist: she does
39、nt really represent anyone from the lower classes; those servants she does portray are generally happy with their lot. Austen does criticize class structure but only a limited slice of that structure.MotifsMotifs are recurring structures, contrasts, or literary devices that can help to develop and i
40、nform the texts major themes.CourtshipIn a sense, Pride and Prejudice is the story of two courtshipsthose between Darcy and Elizabeth and between Bingley and Jane. Within this broad structure appear other, smaller courtships: Mr. Collinss aborted wooing of Elizabeth, followed by his successful wooin
41、g of Charlotte Lucas; Miss Bingleys unsuccessful attempt to attract Darcy; Wickhams pursuit first of Elizabeth, then of the never-seen Miss King, and finally of Lydia. Courtship therefore takes on a profound, if often unspoken, importance in the novel. Marriage is the ultimate goal, courtship consti
42、tutes the real working-out of love. Courtship becomes a sort of forge of a persons personality, and each courtship becomes a microcosm for different sorts of love (or different ways to abuse love as a means to social advancement).JourneysNearly every scene in Pride and Prejudice takes place indoors,
43、 and the action centers around the Bennet home in the small village of Longbourn. Nevertheless, journeyseven short onesfunction repeatedly as catalysts for change in the novel. Elizabeths first journey, by which she intends simply to visit Charlotte and Mr. Collins, brings her into contact with Mr.
44、Darcy, and leads to his first proposal. Her second journey takes her to Derby and Pemberley, where she fans the growing flame of her affection for Darcy. The third journey, meanwhile, sends various people in pursuit of Wickham and Lydia, and the journey ends with Darcy tracking them down and saving
45、the Bennet family honor, in the process demonstrating his continued devotion to Elizabeth.SymbolsSymbols are objects, characters, figures, or colors used to represent abstract ideas or concepts.PemberleyPride and Prejudice is remarkably free of explicit symbolism, which perhaps has something to do w
46、ith the novels reliance on dialogue over description. Nevertheless, Pemberley, Darcys estate, sits at the center of the novel, literally and figuratively, as a geographic symbol of the man who owns it. Elizabeth visits it at a time when her feelings toward Darcy are beginning to warm; she is enchant
47、ed by its beauty and charm, and by the picturesque countryside, just as she will be charmed, increasingly, by the gifts of its owner. Austen makes the connection explicit when she describes the stream that flows beside the mansion. “In front,” she writes, “a stream of some natural importance was swe
48、lled into greater, but without any artificial appearance.” Darcy possesses a “natural importance” that is “swelled” by his arrogance, but which coexists with a genuine honesty and lack of “artificial appearance.” Like the stream, he is neither “formal, nor falsely adorned.” Pemberley even offers a s
49、ymbol-within-a-symbol for their budding romance: when Elizabeth encounters Darcy on the estate, she is crossing a small bridge, suggesting the broad gulf of misunderstanding and class prejudice that lies between themand the bridge that their love will build across it.StylePride and Prejudice, like most of Jane Austens works, employs the narrative technique of free indirect speech. This has been defined as “the free representation of a characters speech, by which one means, not words actually spoken by a character, but the words that typify the ch
