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C. Callanan
“They tell us that art is a mirror – a mirror held up to nature. I think this is a false image...
In a society like ours, art is not a mirror but a hammer. It is a weapon in our hands to see
and say what is right and good and beautiful, and hammer it out as the mould and pattern
of men's actions.”
- John Grierson
Art is often a reaction to society and Jane Austen's Pride an Prejudice certainly
displays elements of this. Jane Austen wrote about the world she knew, and the society in
which she lived in was much more closed than the one in which we live today. This is
reflected in the actions of her characters. They are constantly encouraged by one another
to refrain from overstepping their social boundaries. Such a boundary might be breached
discussing private matters with those one is not intimately acquainted with. While these
boundaries are continuously enforced throughout the novel, a close reading will reveal
that Pride and Prejudice is in fact a criticism of these social institutions and contains
strong arguments for progression towards a less rigid, more open society.
Perhaps the most evident example of this is found the relationship between Jane
and Charles Bingley. These two lovers seem ideally suited to each other; Elizabeth tells
Jane, “No one who has ever seen you together, can doubt his affection” (82, XXI), and
she is not alone in this opinion; her mother speaks “freely, openly, and of nothing else but
of her expectation that Jane would soon be married to Mr. Bingley” (68, XVIII). Despite
Mrs. Bennett's certainties Jane and Mr. Bingley's courtship does not initially result in
marriage when Mr. Bingley rather abruptly breaks it off. This is not without precedent; in
a conversation about Jane, Charlotte tells Elizabeth that “[i]f a woman conceals her
affection with the same skill from the object of it, she may lose the opportunity of fixing
him; and it will then be but poor consolation to believe the world equally in the dark... In
nine cases out of ten, a woman had better shew more affection than she feels. Bingley
likes your sister undoubtedly; but he may never do more than like her, if she does not
help him on” (13-14, VI). We discover later, in Mr. Darcy's letter to Elizabeth, that one of
the main reasons why he played a part in detaching Mr. Bingley from Jane was his
carefully studied opinion that she felt no particular attachment to Mr. Bingley. “Her look
and manner were open, cheerful and as engaging as ever, but without any symptom of
peculiar regard, and I remained convinced from the evening's scrutiny, that though she
received his attentions with pleasure, she did not invite them by any participation of
sentiment” (134, XXXV). Darcy goes on to admit that as Elizabeth is her sister, she
would be better inclined to know Jane's feelings towards Bingley, but there were no
inclinations for him to suspect that she reciprocated Bingley's affection. This notion was
so strong in Mr. Darcy that, combined with his concerns about Jane's familial
connections, he engaged in an act of deception to prevent his friend from making a poor
decision in marriage. Mr. Darcy has strong moral convictions and for him to take such a
course of action is highly irregular; indeed, it is the one thing he truly regrets in his part
of the affair. That he would “[condescend] to adopt measures of art” (135, XXXV) shows
This suggests that Jane, in deference to sensibilities of her time, was intentionally
concealing her feelings for Mr. Bingley for the sake of respectability. Even after hope of
engagement to Mr. Bingley seems to all but have disappeared, she denies her true feelings
for him: “He may live in my memory as the most amiable man of my acquaintance, but
that is all. I have nothing either to hope or fear, and nothing to reproach him with” (92,
XXIV). Elizabeth, however, notes many changes in Jane's personality that show how
very much Mr. Bingley's forsaking has affected her. When examining letters from her, she
notes “in all, and in almost every line of each, there was a want of that cheerfulness
which had been used to characterize her style, and which, proceeding from the serenity of
a mind at ease with itself, and kindly disposed towards every one, had been scarcely ever
clouded” (128, XXXIV). Even Mrs. Gardiner notices the change in Jane's mood, and
Though all may seem lost for the young lovebirds, an act of admission brings
them back together. Darcy, a man whom all thought incapable of admission of wrong
doing, admits to Elizabeth that he had informed Mr. Bingley of his prior transgression, as
well as his reconsideration of his opinion of Jane's affections. This, however, required a
change in Jane's actions as well; when Elizabeth inquired as to whether Darcy truly felt
that Jane loved Bingley or whether he had simply said so on account of Elizabeth's
statements, he replies in affirmation of the former: “I had narrowly observed her during
the two visits which I had lately made here; and I was convinced of her affection” (250,
LVIII). If Darcy was to come to this conclusion independently from the observation of
two visitations, there clearly must have been a radical change in Jane's manner. Whether
this had been due to acceptance of Mr. Bingley's rejection, or a renewed desire to win
him back is debatable; nonetheless, Jane had allowed herself to express her true feelings
for Bingley, which lead to greater happiness for everyone involved, especially herself;
whereas previously she had been described as “dejected” (104, XXVII) and “not in
spirits” (124, XXXIII), after her engagement to Mr. Bingley she is absolutely ecstatic:
“'Tis too much! By far too much. I do not deserve it. Oh! why is not every body as
Even beyond his involvement in the Jane-Bingley affair, Mr. Darcy possibly
presents the best argument for a social critique interpretation of Pride and Prejudice. This
is rather ironic, as Mr. Darcy is quite probably the biggest proponent of the very social
structure that he ends up representing negatively. Darcy is so very aware of his high
status in society that he appears to snub every person he speaks with. The initial opinion
of him from the ball at Netherfield is more or less universal: “He was the proudest, most
disagreeable man in the world, and every body hoped he would never come there again”
(6, III). Even Mrs. Bennett, who is prone to looking at the best in people, especially if
they happen to be well off, cannot stand him, “for he is a most disagreeable, horrid man,
not at all worth pleasing... I quite detest the man” (8, III).
Mrs. Bennett has good reason, too. When Mr. Bingley suggests that he dance with
Elizabeth he responds rather crudely, ``She is tolerable; but not handsome enough to
tempt me; and I am in no humour at present to give consequence to young ladies who are
slighted by other men. You had better return to your partner and enjoy her smiles, for you
are wasting your time with me” (7, III), all within earshot of Elizabeth. Later on, he
“But no sooner had he made it clear to himself and his friends that she had hardly
a good feature in her face, than he began to find it was rendered uncommonly
intelligent by the beautiful expression of her dark eyes. To this discovery succeeded
some others equally mortifying. T hough he had detected with a critical eye more than
one failure of perfect symmetry in her form, he was forced to acknowledge her
figure to be light and pleasing; and in spite of his asserting that her manners were
not those of the fashionable world, he was caught by their easy playfulness. Of this she
was perfectly unaware; -- to her he was only the man who made himself agreeable no
where, and who had not thought her handsome enough to dance with.” (15, VI)
Elizabeth tells him after they have become engaged, “My beauty you had early
withstood” (256, LX), and she is right. His early treatment towards Elizabeth is a result of
his need to fit a certain image. All of his snobbery is merely a facade, a wall built around
him by years of good breeding. His pretensions come back to haunt him when he first
proposes marriage to Elizabeth. While the proposal itself is surprisingly frank, and rather
insulting, the reasons Elizabeth gives for refusing it all relate back to problems stemming
from Darcy's stern adherence to his social boundaries. The first is the matter of her sister
Jane, which is discussed above, and the second refers to Darcy's part in Wickham's loss of
his inheritance. Elizabeth had, upon initially meeting Wickham, thought him to be a
wholly trustworthy sort of man, and had taken his account of Mr. Darcy's treatment of
him with utmost regard. Indeed, this was one of the most defining points in her formation
of her opinion of Mr. Darcy: ``I had not thought Mr. Darcy so bad as this -- though I have
never liked him, I had not thought so very ill of him -- I had supposed him to be despising
his fellow-creatures in general, but did not suspect him of descending to such malicious
revenge, such injustice, such inhumanity as this!'' (55, XVI). Darcy, reluctant to expose
the misjudgments of himself, his father, his sister, and Colonel Fitzwilliam, had not
revealed the truth behind the affair with Wickham. This resulted in nearly every character
misunderstanding both himself and Wickham, which in turn resulted in the near
disastrous elopement of Lydia and Wickham. Had Wickham not been forced to marry
Lydia by Darcy, Lydia would have been disowned, and the Bennetts would have been
ruined. While Darcy's admission comes too late and is not widely spread enough to
prevent Lydia from eloping, it does help to change Elizabeth's mind about her decision on
Darcy's marriage proposal. If Darcy had been more open about the fiasco with Wickham,
Lydia might have been saved from the catastrophic chain of events that followed her visit
to Brighton, and it is entirely possible that Elizabeth might have accepted his initial
proposal. Nonetheless, Darcy was able to overcome his ingrained pride, and he and
Elizabeth were married and lived quite happily ever after via a trite, cliché ending.
George Wickham. He is the sort of person with whom one is immediately comfortable:
“His appearance was greatly in his favour; he had all the best part of beauty -- a fine
countenance, a good figure, and very pleasing address” (49, XV). Wickham is very open,
even with complete strangers, which is perhaps some of his appeal. Indeed, it is not until
after she reads Darcy's letter that it occurs to Elizabeth how inappropriate his initial
conduct had been: “She was now struck with the impropriety of such communications to
a stranger, and wondered it had escaped her before. She saw the indelicacy of putting
himself forward as he had done, and the inconsistency of his professions with his
conduct” (140, XXXVI). Here we see the main villain practicing the same activity that I
claim Jane Austen advocates! Yet, one must take note that, though he is very open, the
sooner one tires of any thing than of a book! -- When I have a house of my own, I shall
be miserable if I have not an excellent library” (37, XI). Indeed, Wickham's openness is
social laws. It is necessary that the rest of the members of society become more open so
Throughout Pride and Prejudice Jane Austen has carefully constructed her
characters into their intricate webs. Those who read Pride and Prejudice with the notion
that it is simply a long, drawn out love story are severely mistaken. Pride and Prejudice
is so much more. It is a portrait of British society among the gentry as Jane Austen saw
and knew it. She plays with her characters, manipulating them perfectly to show exactly
how their actions affect each other, and the end result is biting social criticism. Pride and
Prejudice is not a story, but an analysis of the trappings of society. Though we have
changed much in 200 years and a continent away, we still are caught in many of these
social webs. By reading Pride and Prejudice we may hope to further hammer out our