Pride and Prejudice

by Jane Auston

About the Author

Jane Austen (16 December 1775 – 18 July 1817) was an English novelist known primarily
for her six major novels, which interpret, critique and comment upon the British society at
the end of the 18th century. Austen's plots often explore the dependence of women on
marriage in the pursuit of favorable social standing and economic security. Her works
critique the novels of sensibility of the second half of the 18th century and are part of the
transition to 19th-century literary realism. Her use of biting irony, along with her realism,
humor, and social commentary, have long earned her acclaim among critics, scholars, and
popular audiences alike.

Plot Summary
Mrs. Bennet has five daughters and a big problem: none of them are married, there
isn't much fortune to go around, and—thanks to a quirk of English property law—they'll
all be kicked out of their house when Mr. Bennet dies. Enter Mr. Bingley, a rich, single
man who moves into their neighborhood and takes a liking to the eldest Miss Bennet, Jane.
But don't save the date quite yet: Mr. Bingley might be easygoing and pleasant, but his
sisters are catty snobs and his controlling friend Mr. Darcy isn't about to let Mr. Bingley
marry beneath him. When they all meet up at a local ball, Mr. Darcy lets everyone around
him know just how dumb and boring he finds the whole thing—including our new BFF
and protagonist, the second Bennet daughter, Elizabeth.
It's clear to everyone that Mr. Bingley is falling in love with Jane, but Jane keeps
her feelings on the down low, against the advice of Lizzy's good friend Charlotte Lucas.
And, surprising no one, Mr. Darcy finds himself strangely attracted to Lizzy. The two get
even more opportunities to snip at each other when Lizzy goes to Mr. Bingley's house to
nurse her sister, who's gotten sick on a wet horseback ride over for dinner.
And now it's time to meet Bachelor #3: Mr. Collins. As Mr. Bennet's closest male
relative, Mr. Collins will inherit the estate after Mr. Bennet's death. Mr. Collins has
decided that the nice thing to do is to marry one of the Bennet girls in order to preserve
their home. Unfortunately, he's a complete fool and Lizzy hates him on sight. Also,
unfortunately, he sets his sights on her.
As for the two youngest Bennet sisters, the militia has arrived in town and they're
ready to throw themselves at any military officers who wander their way—like Mr.
Wickham, who rapidly befriends Elizabeth and tells her a sob story about how Mr. Darcy
totally ruined his life, which Elizabeth is happy to believe. Oh, and Mr. Collins' boss, Lady
Catherine de Bourgh, just so happens to be Mr. Darcy's aunt. Small world!
Not too long after this, all the Bennet girls (including middle sister Mary, who's too
wrapped up in books to notice boys) head to a ball at Netherfield (Mr. Bingley's mansion).
It's kind of awful. Darcy, of all people, asks Elizabeth to dance, and Lizzy's entire family
is unbearably embarrassing—like her mom loudly announcing that they all expect Bingley
to marry Jane.
But it gets worse when Mr. Collins proposes the next morning. Elizabeth refuses,
obviously, but hold your pity: Charlotte Lucas shows up to "help out," by which we mean
"get Collins to propose to her instead." It works, which is good news for the 27-year-old
Charlotte, who's too poor and plain to expect anything better; but bad news for Elizabeth,
who can't believe that her friend would actually marry the guy—even when Charlotte
explains that she's really out of options, here.
And then more bad news arrives: Jane gets a letter from Miss Bingley basically
breaking up with her on her brother's behalf. Jane is super bummed, and she goes to stay
with her aunt and uncle in London to get over it (and just maybe see Bingley, who's off to
the big city). Elizabeth travels too: she's off to visit the newly married Charlotte, who
seems to be holding up well. One problem: Mr. Darcy is on his way to visit his aunt, who's
also, you might remember, Mr. Collins' boss.
Darcy almost acts like he's glad to see Lizzy, and even comes to visit her at
Charlotte's house, but Lizzy is not having it: she learns from Mr. Darcy's friend that
Bingley was going to propose to Jane until Darcy intervened. And that's exactly the
moment Darcy chooses to propose. Can you guess how it goes?
Not well. During the proposal, mixed in with Darcy's "I love you" are some "I am so
superior to you" comments, which, not surprisingly, don't go over so well. Elizabeth has
some choice things to say to him, and the next day he hands her a letter with the full story
about Wickham (he's a liar, a gambler, and he tried to elope with Darcy's underage sister)
and Jane (Darcy was convinced Jane was just a gold-digger).
When Lizzy gets him, she finds that Lydia, the youngest of the Bennet girls, has
been invited to follow the officers to their next station in Brighton. Elizabeth thinks this is
a Very Bad Idea, but Mr. Bennet overrules her. Big mistake, as we'll find out soon.
But first, it's time for Elizabeth to accompany her aunt and uncle on a trip to Derbyshire,
which, incidentally, is where Mr. Darcy lives. Uh-oh! Oh, but he's out of town. Phew.
They visit his estate (Pemberley) as tourists — you can do that kind of thing in England —
and Lizzy is impressed. Darcy's housekeeper also has nothing but compliments for her
master. Weird, right? It gets weirder when they run into Darcy who's home early, and he's
actually polite and friendly.
Before we can start practicing our wedding toasts, disaster strikes: Elizabeth learns
that Lydia has run off with Wickham. This scandal could ruin the family, so Elizabeth's
uncle and father try to track the renegade couple down. Elizabeth's uncle saves the day and
brings the two young 'uns back as a properly married (and unapologetic) couple. When
Lydia lets slip that Darcy was at her wedding, Elizabeth realizes that there's more to the
story and writes to her aunt for more information.
Here's the full story: Darcy saved the Bennet family's honor. He tracked down the
couple and paid off Wickham's massive debts in exchange for Wickham marrying Lydia.
Why would he possibly do that? Well, we have some ideas—but we don't get to find out
right away. First, Bingley comes back and finally proposes to Jane. And then, Lady
Catherine visits Longbourn to strong-arm Elizabeth into rejecting any proposal from
Darcy, which obviously doesn't work.
When Lizzy and Darcy finally get some alone time on a walk, we get the moment
we've all been waiting for: they clear up all their past misunderstandings, agree to get
married, and then make out in the rain. (Oh wait, that was the movie version.)
And they all live happily ever after.
Plot Analysis
The plot of Pride and Prejudice follows a linear, chronological structure. Elizabeth
Bennet is the protagonist, and the major conflict revolves around her struggle to find a
compatible husband despite the obstacles presented by both social conventions and her
own lack of self-awareness. She encounters a number of antagonists who create obstacles
between her and a happy marriage. These antagonists can be classified into two groups:
The first are the characters who threaten Elizabeth’s future happiness by trying to persuade
her to marry the wrong man. They include Mrs. Bennet (who does not understand the kind
of marriage her daughter wants and thinks Elizabeth should lower her standards) and Mr.
Collins (who tries to convince Elizabeth to accept a marriage that would never satisfy her).
The second group of antagonists are the characters who try to prevent Elizabeth’s marriage
to Darcy, notably Miss Bingley and Lady Catherine de Bourgh. There are times when
Elizabeth functions as her own antagonist. Her stubbornness and inability to understand
that Darcy would be a good match for her move her further away from her goal of
happiness, rather than toward it.
The main plot of Elizabeth’s path to marriage intersects closely with subplots
focused on the love lives of other female characters. The plot structure is also shaped by
its division into volumes. Pride and Prejudice was initially published in three volumes. In
the first volume, the initial events of the plot focus on Jane’s attraction to Bingley, with
Elizabeth’s interactions with Darcy and his gradual attraction to her functioning as
secondary incidents. The major conflict in this first section of the novel centers on whether
Jane and Bingley will be able to marry, since Darcy and Bingley’s sisters seem determined
to keep them apart. Another conflict arises when Mr. Collins begins pursuing Elizabeth,
and she is forced to reject him. These two initial conflicts are given some resolution at the
end of the first volume, when Mr. Collins finally accepts defeat and marries Charlotte
Lucas, and the Bingley family leaves Netherfield to return to London. This moment in the
plot marks a low point, as it appears as though neither Bennet sister has much chance of
getting married and that most people marry for money and status.
The plot rises again with a new focus on the possibility of a match between
Elizabeth and Darcy. Elizabeth’s visit to Charlotte and Mr. Collins creates a new
opportunity for her to interact with Mr. Darcy, leading him to propose to her. This
proposal occurs approximately in the middle of the story and represents the climax of the
attraction Darcy has been trying to resist ever since he first met Elizabeth. Her rejection of
his proposal parallels her previous rejection of Mr. Collins. At this point, Elizabeth
believes that Darcy is a bad person, and she will not accept a marriage to a man she does
not love, no matter what he might offer her. However, the plotline of Darcy and
Elizabeth’s relationship increases in intensity after she rejects him. The rejected proposal
leads him to reveal new information that makes her question her perception of him. The
unfolding plot of growing affection between Darcy and Elizabeth is interrupted by a new
conflict: Lydia’s elopement. This conflict dominates the novel’s plot until its resolution.
Once Lydia’s plotline is resolved with her respectable marriage, the focus shifts to a return
to Jane’s storyline. Reunited with Bingley, she quickly becomes engaged, resolving the
conflict that has been ongoing since the novel’s start. All that remains is a final conflict to
be overcome in the form of Lady be Bourgh’s attempt to prevent Elizabeth from marrying
Darcy. The earlier plot events where Elizabeth stood her ground have prepared her for this
moment, and she refuses to back down. With the characters having finally overcome all
the obstacles in their way, the novel’s climax takes place when Darcy proposes a second
time and Elizabeth accepts him. The climax is followed by some brief falling action,
including the preparations for the marriage and the projected futures for all three couples.
Pride and Prejudice was influential in demonstrating that everyday events and domestic
struggles presented in a realistic way can be as interesting as more sensational stories.
Readers experience the events of the plot in the same way the characters do, without any
special narrative techniques. This choice of plot structure helps to make the events of the
novel relatable. The novel closes with a classic comedic ending in which three of the
Bennet sisters are married and the virtuous characters (Jane, Elizabeth, Bingley, and
Darcy) are rewarded with prosperity and happiness, while the foolish or wicked characters
(Lydia and Wickham) face a more turbulent existence.
Character analysis:
Elizabeth Bennet
The second daughter in the Bennet family, 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 numerous—she is
lovely, clever, and, in a novel defined by dialogue, she converses as brilliantly as anyone.
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 (and her true love, Darcy) overcome all obstacles—including their
own personal failings—to 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 mistaken 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 Darcy’s character, she
realizes the error of her initial prejudice against him.

Fitzwilliam Darcy
The son of a wealthy, well-established family and the master of the great estate of
Pemberley, Darcy is Elizabeth’s male counterpart. The narrator relates Elizabeth’s point of
view of events more often than Darcy’s, so Elizabeth often seems a more sympathetic
figure. The reader 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 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 distaste 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 harsh judgment of him.

Jane Bennet and Charles Bingley

Elizabeth’s beautiful elder sister and Darcy’s wealthy best friend, Jane and Bingley
engage in a courtship that occupies a central place in the novel. They first meet at the ball
in Meryton and enjoy an immediate mutual attraction. They are spoken of as a potential
couple throughout the book, long before anyone imagines that Darcy and Elizabeth might
marry. Despite their centrality to the narrative, they are vague characters, sketched by
Austen rather than carefully drawn. Indeed, they are so similar in nature and behavior that
they can be described together: both are cheerful, friendly, and good-natured, always ready
to think the best of others; they lack entirely the prickly egotism of Elizabeth and Darcy.
Jane’s gentle spirit serves as a foil for her sister’s fiery, contentious nature, while
Bingley’s eager friendliness contrasts with Darcy’s stiff pride. Their principal
characteristics are goodwill and compatibility, and the contrast of their romance with that
of Darcy and Elizabeth is remarkable. Jane and Bingley exhibit to the reader true love
unhampered by either pride or prejudice, though in their simple goodness, they also
demonstrate that such a love is mildly dull.

Mr. Bennet
Mr. Bennet is the patriarch of the Bennet household—the 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 of 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 wife’s hysteria make him a sympathetic figure, but,
though he remains likable throughout, the reader gradually loses respect for him as it
becomes 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 Lydia’s immature behavior nearly leads to general disgrace when she elopes
with Wickham. Further, upon her disappearance, 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
Mrs. Bennet is a miraculously tiresome character. Noisy and foolish, she is a
woman consumed by 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 continually 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
unattractive figure, lacking redeeming characteristics of any kind, that some readers have
accused Austen of unfairness in portraying her—as if Austen, like Mr. Bennet, took
perverse pleasure in poking fun at a woman already scorned as a result of her ill breeding.

Lydia Bennet
Lydia is the youngest and wildest Bennet daughter. She is her mother’s favorite
because like Mrs. Bennet, she is preoccupied with gossip, socializing, and men. Lydia is
described as having “high animal spirits and a sort of natural self-consequence.” She is
attractive and charismatic, but she is also reckless and impulsive. Lydia’s behavior
frequently embarrasses her older sisters, and when Lydia receives the invitation to go to
Brighton, Lizzy makes an impassioned speech about her sister’s character. She explains
that “our respectability in the world must be affected by the wild volatility, the assurance
and disdain of all restraint which mark Lydia’s character” Lizzie also articulates her fear
that Lydia is on the road to becoming “a flirt in the worst and meanest degree of
flirtation.” Lydia has an innate tendency toward wild and selfish behavior, but as a
character she also sheds light on the failings of her parents, and father in particular.
Because of her young age and lack of education, Lydia is presented as not entirely
culpable for her behavior because she lacks parental guidance and discipline.
Although Lydia seems initially a harmless and entertaining character, her elopement with
Wickham shows that her selfish actions can cause real damage. In the note explaining that
she has run off with Wickham, Lydia writes “What a good joke it will be!” From Lizzy’s
point of view, however, the focus is “the humiliation, the misery, she was bringing on
them all.” Lydia does not think about the repercussions of her actions for herself or for her
sisters. She does not learn any responsibility or sense of propriety over the course of the
plot. Although Lydia’s reputation is barely salvaged through a hasty marriage, she focuses
on her own importance, declaring, “Jane, I take your place now, and you must go lower,
because I am a married woman.” She spends her married life relying on the generosity of
her sisters and “moving from place to place in quest of a cheap situation.” In a novel
where many other characters experience psychological development and growth, Lydia
remains foolish and headstrong throughout.

Charlotte Lucas
Charlotte is initially described as “a sensible, intelligent woman… who was
Elizabeth’s intimate friend.” Because of this intelligence, Elizabeth assumes that Charlotte
shares her values, even though Charlotte is actually much more pragmatic and even
cynical. For example, after Charlotte makes a series of speeches explaining that
“Happiness in marriage is entirely a matter of chance” and highlighting the importance of
choosing a partner who can provide economic stability, Elizabeth gently rebukes her,
explaining that “You know it is not sound and you would never behave in this way
yourself.” Because Elizabeth is blind to Charlotte’s true values, she feels shocked and
betrayed when Charlotte chooses to marry Mr. Collins. Charlotte’s character is consistent
throughout; when Elizabeth goes to visit her after her marriage, she is forced to “meditate
upon Charlotte’s degree of contentment… and to acknowledge that it was all done very
well.” Charlotte accurately assesses her priorities and what she needs to be happy, and
chooses accordingly. As a result, she stands in contrast to Elizabeth, who often forms
inaccurate assessments of situations and people.
Georgiana Darcy
Darcy’s sister. She is immensely pretty and just as shy. She has great skill at playing the
pianoforte.
Mary Bennet
The middle Bennet sister, bookish and pedantic.
Catherine Bennet
The fourth Bennet sister. Like Lydia, she is girlishly enthralled with the soldiers.
Protagonist
Elizabeth Bennet is the protagonist of the novel. Most of the events and characters
are described from her point of view, and readers gain access to new information and
insights only when she does. Elizabeth wants to build an independent life for herself with a
partner she truly loves and respects. However, this goal is blocked by her tendency to
make quick assumptions about people, and to be stubborn in her beliefs. At the beginning
of the novel, Elizabeth forms fixed ideas of people and is frustrated when individuals show
inconsistency or complexity. For example, after making up her mind that Darcy is cold
and stuck-up, she refuses to see anything good about his character. Conversely, because
she takes a liking to Wickham, she insists on believing he is a good person. By the end of
the novel, Elizabeth realizes that people can be complex and multi-dimensional, and that it
is important to use new information to reassess first impressions. Because of this
development in her character, she achieves what she wants and ends up happily married to
Darcy.

Antagonist
Two characters act as antagonists by attempting to thwart Elizabeth’s goals: Mrs.
Bennet and Lady de Burgh. The two older female characters work in opposing ways, with
Mrs. Bennet trying to force Elizabeth to marry a man she doesn’t love, and Lady de Burgh
trying to stand in the way of Elizabeth marrying a man she does love. The antagonists
have different motivations, but both find Elizabeth’s actions objectionable. Mrs. Bennet is
furious that her daughter has rejected Mr. Collins’s proposal, complaining that “if you take
it into your head to go on refusing every offer of marriage in this way, you will never get a
husband at all,” and referring to Lizzy as “a very headstrong foolish girl.” Mrs. Bennet is
angry that she cannot control her daughter and bend her to her will.
Similarly, Lady de Burgh is outraged when she hears that Lizzy and Darcy are
engaged. She tries to seize control of the situation by telling Lizzy “This match, to which
you have the presumption to aspire, can never take place.” When Lizzy implies that she
will not be dissuaded from marrying a man she truly loves, Lady de Burgh calls her an
“obstinate, headstrong girl”. The antagonists are outraged by Lizzy’s insistence on
following her heart and seeking a partner she will be truly compatible with. They try to
impose social control, but Lizzy’s integrity and strength of character defeats them. At the
end of the novel, both antagonists accept Lizzy’s marriage and tacitly accept her right to
make decisions about her own life.

Pride and Prejudice Themes

Theme of Pride
As Mary says in Chapter 5, "human nature is particularly prone to [pride]."
Throughout Pride and Prejudice, pride prevents the characters from seeing the truth of a
situation. Most notably, it is one of the two primary barriers in the way of a union between
Elizabeth and Darcy. Darcy's pride in his social position leads him to scorn anyone outside
of his own social circle. Meanwhile, Elizabeth's pride in her powers of discernment cloud
her judgment. These two find happiness by helping each other overcome his/her pride.
Outside of Elizabeth and Darcy, however, Austen seems pessimistic about the human
ability to conquer this character flaw. A slew of secondary characters, like Mrs. Bennet,
Lady Catherine, Mr. Collins, and Caroline Bingley, remain deluded by personal pride
throughout the novel.

Theme of Prejudice
in Pride and Prejudice, one cannot equate Darcy with Pride, or Elizabeth with
Prejudice; Darcy's pride of place is founded on social prejudice, while Elizabeth's initial
prejudice against him is rooted in pride of her own quick perceptions. Ultimately, both
characters' egos drive them towards personal prejudice. Darcy has been taught to scorn
anyone outside his own social circle and must overcome his prejudice in order to endear
himself to Elizabeth. Similarly, Elizabeth's excessive pride in her discernment leads her
write Darcy off too quickly. Ultimately, they find happiness by recognizing the barriers
that prejudice creates.

Theme of Family
Austen portrays the family unit as primarily responsible for the intellectual and
moral education of children. Throughout the novel, the younger characters either benefit
from or suffer from their family values. Mr. and Mrs. Bennet's failure to provide their
daughters with a proper education leads to Lydia's utter foolishness and immorality.
Elizabeth and Jane manage to develop virtue and discernment in spite of their parents'
negligence, though it is notable that they have other role models (like the Gardiners).
Darcy shares his father's aristocratic nature and tendency towards generosity, while Lady
Catherine's formidable parenting style has rendered her daughter too frightened to speak.
Women
Austen is certainly critical of the gender injustices present in 19th century English society,
particularly as perpetrated by the institution of marriage. In Pride and Prejudice, many
women (such as Charlotte) must marry solely for the sake of financial security. However,
in her portrayal of Elizabeth, Austen shows that women are just as intelligent and capable
as their male counterparts. Jane Austen herself went against convention by remaining
single and earning a living through her novels. In her personal letters, Austen advised
friends only to marry for love. In the novel, Elizabeth's happy ending reveals Austen's
beliefs that woman has the right to remain independent until she meets the right man (if
she meets him).
On the other hand, most contemporary readers will find the Longbourn entailment to be
unjust. And yet the heroines - Jane and Elizabeth - refrain from speaking out against it.
Instead, the only two characters who openly criticize the entailment - Mrs. Bennet and
Lady Catherine - are ridiculous caricatures. Furthermore, the fact that Elizabeth seems to
share her father's distrust frivolous women suggests Austen's uneasy relationship with her
own gender.
Class
Class issues are everywhere in Pride and Prejudice. While the novel never posits an
egalitarian ideology nor supports the leveling of all social classes, it does criticize an over-
emphasis on class, especially in terms of judging a person's character. Ultimately, the
novel accepts Elizabeth's view that the trappings of wealth are not a virtue in and of
themselves. Darcy's initial pride is based on his extreme class-consciousness, but he
eventually comes to accept Elizabeth's perspective, most notably evidenced through his
admiration of the Gardiners. Likewise, he joins Elizabeth in rejecting the upper-class
characters who are idle, mean-spirited, closed-minded, like Lady Catherine and Bingley's
sisters.
Austen clearly finds rigid class boundaries to be occasionally absurd. Mr. Collins's comic
formality and obsequious relationship with Lady Catherine form a satire of class
consciousness and social formalities. In the end, the novel's verdict on class differences is
moderate. Austen seems to accept the existence of class hierarchy, but she also criticizes
the way it can poison society. If the conclusion of the novel makes it clear that Elizabeth
accepts class relationships as valid, it becomes equally clear that Darcy, through
Elizabeth's genius for treating all people with respect for their natural dignity, is reminded
that institutions are not an end in themselves but are intended to serve the end of human
happiness.

Theme of Individual vs. Society

In Pride and Prejudice, Austen portrays a world in which society is actively
involved in the private lives of individuals. Characters often face questions about their
responsibility to the world around them. A prime example is Darcy's guilt for not having
publicly shamed Wickham before he was able to elope with Lydia. After all, Lydia's sin
threatens to besmirch not only her family, but the community at large. And yet Austen
seems quite well aware of how easily public opinion can change, as evidenced by the
town's easily shifting opinions on Wickham.
Elizabeth, meanwhile, is proudly independent and individualistic. She possesses the ability
to transcend her limitations - the negligence of her parents, the frivolity of Meryton, the
pragmatic nature of Charlotte - because she is confident enough to go after what she
wants. However, her individualistic nature misleads her as she works through her feelings
for Darcy - but thankfully, Mrs. Gardiner is there to guide her towards him. Ultimately,
Austen is critical of the power public opinion has on individual action, but she also
believes that society has a crucial role in promoting virtue and therefore, engendering
individual happiness.

Theme of Virtue
Austen sees human life as purposeful and believes that human beings must guide
their desires through their use of reason. For instance, Elizabeth almost loses her chance at
happiness because her pride overcomes her prejudice. Lydia's lack of virtue is linked with
her inability to control her passion and desire.

Most of these examples emphasize the importance of self-awareness. Without

knowing oneself, it is difficult to develop virtue. Darcy and Elizabeth, two of the only
characters who actually change in the novel, can only see past their pride and prejudice
with each other's help. In the end, Austen links happiness to virtue and virtue to self-
awareness.

Setting:
Pride and Prejudice is set in England at some point in the very late 1700s-early
1800s. The exact dates are unclear, but we know the action takes place some time during
the Napoleonic Wars (1797-1815) because Austen references soldiers and regiments.
Since the novel was written and revised between 1796 and 1813, we can assume Austen
sets the novel at about the same time she was writing. The action moves between a few
different locations in England, including Brighton, London, and the counties of
Hertfordshire, Derbyshire, and Kent, but there is little detailed description of the
geographic settings
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 "If"
By Rudyard Kipling
This poem is didactic (it teaches a lesson). The father teaches his son how to be
perfect Man

The main theme of the poem:

The poet gives pieces of advice to his son in particular and the readers in
general. He is teaching him how to face life, which is full of fortune and misfortune,
good and evil, failure and success. He says that if his son follows all these pieces of
advice, he will be a perfect man.
 Stanza (1):

If you can keep your head when all about you

Are losing theirs and blaming it on you,
If you can trust yourself when men doubt you,
But make allowance for their doubting too,
If you can wait and be tired of waiting,
Or being lied about, don’t deal in lies,
Or being hated, don’t give way to hating.

Vocabulary:
Keep your head: be calm and brave
Blaming (you): you are responsible; your mistake
Doubt: don't believe, don't trust
Allowance: understand; patience

Paraphrase:
The poet advices his son to be calm and not to lose his temper; even when the
people around him are angry and trying to put the blame on him. He must never lose
confidence in himself even when people distrust him, and try to find excuses for
people. He must be patient and never get tired of waiting. He must always be honest
and never tells lies even if people lie to him. He must never give a chance for hatred
even when he feels that some people hate him. He must not be showy to prove to
people that he is better or wiser than them.
The figures of speech:
1- Contrast: The entire stanza is based on contrast
'Keep your head' X 'losing theirs'
'Trust yourself X ' doubt you'
'Lied about' X 'don't deal in lies'
'Being hated' X ' don't give way to hating'
 These contrasts serve in clarifying the picture of perfection which the poet is
trying to describe.
2- Alliteration:
Line (6): 'Or being lied about, don’t deal in lies,'
The consonant sound 'd' is repeated in 'don't' and 'deal'
3- Repetition:
Lines (6) and (7): "Or being lied about, don’t deal in lies,"
"Or being hated, don’t give way to hating,"
'Or being' is repeated twice.
Rhyme Scheme: aaaabcbc
-----------------------------------------------------------------------------------------------
Stanza (2):
If you can dream- and not make dreams your master;
If you can think- and not make thoughts your aim,
If you can meet with triumph and disaster,
And treat those two imposters just the same;
If you can bear to hear the truth you've spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to broken,
And stoop and build them up with worn out tools.
Vocabulary:
Master: leader, controller
stoop: to bend over from being so tired
Triumph: success, victory
Aim: goal, reason
Imposters: deceivers, cheaters
disaster: failure
Trap: to catch
twisted: changed
Knaves: youth who break the rules; evil and bad people.
 Paraphrase:
The poet advices his son to be realistic and rational. He can dream but he must
be realistic not to let dreams control him. He must think well but thinking is not a
goal in itself. He must take an action after thinking. He must be wise in the case of
victory or loss. He must treat them the same as they can deceive people. If he wins he
must not be blinded by happiness. If he loses he must not be broken by sadness.
He must be tolerant towards evil people who try to change his words just to
fool naïve people. He mustn't be desperate when he sees all the things he has achieved
lost or destroyed. He must try hard to get them back.

The figures of speech:

1- Metaphor:
Line (8): And stoop and build them up with worn out tools:
The skills of life have been compared to 'worn out tools'
2- Alliteration:
Line (4): And treat those two imposters just the same;
The consonant sound 't' is repeated in 'treat' and 'two'.
Line (6): Twisted by knaves to make a trap for fools,
The consonant sound 'f' is repeated in 'for' and 'fools'

3- contrast:
Line (3): If you can meet with triumph and disaster,
'Triumph' and 'disaster' are opposites.

Rhyme Scheme: dedefgfg

 Stanza (3):

If you can make one heap of all your winnings

And risk it all on one turn of pitch and toss,
and lose, and start again at your beginnings
And never breathe a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them 'Hold on'
Vocabulary:

Heap: pile
Risk: danger; a threat
Triumph: pitch and toss is the name of a game of chance, luck
Sinew: muscles
Serve your turn: do your work; your assignment
Hold on: don't give up or surrender

Paraphrase:

When the son risks then fails to reach his goal , he must not lose his nerve but
be brave enough to summon up courage and " hold on" by his strong will and
determination .

The figures of speech:

1- Personification:
Line (8): Except the Will which says to them 'Hold on'
'Will' is personified and given the human ability to talk.
2- Alliteration:
Line (8): Except the Will which says to them 'Hold on'
The consonant sound "w" is repeated in 'will' and 'which'

Rhyme Scheme: hihiajaj

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Stanza (4):

If you can talk with crowds and keep your virtue,

Or walk with kings- not lose the common touch,
If neither foes nor loving friends can hurt you,
If all men count with you, but none too much;
If you can fill the unforgiving minute
With sixty seconds worth of distance run,
Yours is the Earth and everything that's in it,
and which is more you will be a Man my son.

Vocabulary:
Crowd: common and simple people
Common touch: to understand people- rich, poor, everyone
Foes: enemies
Distance run: fruitful labour
Paraphrase:
The poet goes on with his great pieces of advice to his son as when he deals
with some common or poor people; he must be polite and gentle. If he deals with
important people, he must keep his true behavior not to pretend. He must deal with
all people but he must keep limits with all people and not to trust anyone blindly as
today's friend can be tomorrow's enemy. He must run away from hatred and replace
it by forgiveness. If he follows these pieces of advice, he will control the Earth and
everything that is on it and what is more important he will be a true man.
 The figures of speech:
1- Contrast:
Lines (1) and (2): If you can talk with crowds and keep your virtue,
Or walk with kings- not lose the common touch,
Crowds and kings are opposites.
Line (3): If neither foes nor loving friends can hurt you,
Foes and friends are opposites.
2- Alliteration:
Line (6): With sixty seconds worth of distance run,
The consonant sound s is repeated in sixty and second
Line (8): and which is more you will be a Man my son.
The consonant sound m is repeated in Man and my

3- Personification:
Line (5): If you can fill the unforgiving minute
A minute has been given the ability of having human emotion. It is unforgiving.

Rhyme Scheme: akakljlj

Commentary:

1- The poem is composed of four stanzas.

2- There is much comparison:
- " Keep your head" " losing theirs ".
- "lied about " " don't deal in lies ".
- " truth" " impostors "
- " triumph " " disaster ".
-" winnings " " loss "
- " foes " Loving friends ".
 These comparisons serve in clarifying the picture of perfection which the poet
is trying to describe.

3- The poet, says clearly and simply that if his son can do these things which he
has listed, his life will be enriched with meaning and in addition, the son will be a
man. In this context, the word ' man' connotes a person who has good morals,
strength of character and a generous, loving, understanding, forgiving nature.

4- The poet repeats If several times in each stanza, then the answer to all those
ifs comes in the last lines. This makes the picture complete.
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 Romanticism:
The basic concept and themes:
Romanticism is an artistic, literary movement, which was originated in Europe toward the
end of 18th century. In most areas, it was at its peak in the period from 1800 to 1850.
Romanticism was characterized by its emphasis on emotion & individualism as well as the
glorification of all the past & nature. It was partly a reaction to the industrial revolution.
Fondness of Nature:
Fondness of nature is a deep appreciation of the wonder and beauty of nature. The
romantic poet always ties some spiritual elements to the sense that natural landscape, he
often depends on his love of nature and the beauty it provides.
Expression of intense and human emotions:
The romantic literature tends to rely more upon the heart, as different to the brain. The
language and the mood are very natural and simple. Many of the poems are based on love
and the desire for love interests. Also it expresses the deep emotions.
Dominance of passion over logics:
Another theme of romanticism is elevating passion over logics, focusing on emotions. This
style of poetry places a high regard on an individual’s instincts rather than the knowledge.
Elaborate imagination:
In romanticism, nearly anything is possible and life is not limited to the ordinary routines.
It is also considered, poetry with a nearly childlike imagination. The belief in the
impossible is usually a clear sign of romanticism.
Recollection of the past and loneliness:
Another common theme of romanticism is that the poet always prefers to be alone
recollecting the past memories. The loneliness of human emotions is so much liked by the
romantic poets.
 The Rainbow
by William Wordsworth

The main idea of the poem:

The poet expresses his love and admiration for the Rainbow and for Nature.

Structure:

The poem consists of 9 lines that express one main theme ( idea ), which is the poet's
wish of spending all his life in loving and respecting God and nature.

The rhyming scheme is a b c c a b c d d .

My heart leaps up when I behold,

A rainbow in the sky,
So was it when my life began,
So is it now I am a man,
So be it when I shall grow old,
Or let me die,
The Child is father of the Man,
And I could wish my days to be,
Bound each to each by natural piety.

Vocabulary:
- leaps: jumps
- rainbow: an arch of different colours that sometimes appears in the sky
opposite the sun after rain.
- behold: see
- bound: joined together
- piety: the feeling of deep respect for God and religion
Paraphrase:
Lines 1-2: My heart leaps up when I behold,
A rainbow in the sky,

In these lines the poet says that his heart jumps with happiness whenever he sees a
rainbow in the sky. The poet's love for nature is reflected in these lines.

Lines 3-6: So was it when my life began,

So is it now I am a man,
So be it when I shall grow old,
Or let me die,

The poet talks about himself in connection with nature. He says we acquire our love
for nature as we grow up. He compares the continuity of this natural phenomenon
(rainbow) to the continuity of man's life as he would prefer to die if the sight of a rainbow
no longer makes him happy.

Line 7: The child is father of the man,

In this line, the poet describes his idea with a kind of philosophy. 'The Child is
father of the Man'. The poet states a fact of life as one day the little child will grow up to
become a man and marry to be a father of children and carry on with life.

Lines 8-9: And I could wish my days to be,

Bound each to each by natural piety.
In the last two lines the poet sums up his love for nature saying: He wishes his days
to be linked together in harmony with the beauty of nature and the love and respect for
God. So long as he remembers nature, he feels happy.
Figures of speech:
- Contrast: 'My life began # die'
The opposite in “began & die”. The contrast clarifies the meaning.

- Repetition: "So was it when my life began,

So is it now I am a man,
So be it when I shall grow old,"
'So …. it' is repeated three times to emphasize the idea.

- Metaphor: ' Bound each to each '

The poet gives his life the image of a chain with joined parts.

- Personification: ' My heart leaps up when I behold,

A rainbow in the sky, '
Here the poet is comparing his happiness when he sees the rainbow to a person jumping
through the air.

Rhyming scheme: ab cc ab cd d

Commentary:
Written on March 26, 1802 and published in 1807 as an epigraph to "Ode:
Intimations of Immortality," this poem addresses the same themes found in "Tintern
Abbey" and "Ode; Intimations of Immortality
The seventh line of the poem is the key line: "The Child is father of the Man." This
line is often quoted because of its ability to express a complicated idea in so few words
Wordsworth chooses the word "piety" to express the bond he wishes to attain (and
maintain) with his childhood self, because it best
The format of "My heart leaps up when I behold" gives the poem a somewhat
staccato feeling and forces the reader to pause at important points in the poem. For
example, the two short lines of the poem are both quite significant.
 First, "A rainbow in the sky" harkens back to God's promise to Noah signifying
their bond, and foreshadows the speaker's wish to be "Bound...by natural piety." The sixth
line, "Or let me die!" shows the strength of the speaker's convictions.
The speaker in the poem is Wordsworth, thinking about being happy throughout his
life.
Basically, Wordsworth is saying he becomes very happy when he sees a simple
sight in nature (the "rainbow in the sky").
He was this happy as both a child ("So was is when my life began") and now as an
adult ("so is it now I am a man").
Also, he wishes to remain as awestruck with nature as he grows much older ("so be
it when I shall grow old"). I find that there is a use of allusion at the end of the poem,
referencing Mother Nature.
The text "natural piety" refers to the divinity and spirit of nature, like that of Mother
Nature.
Nature is the reason for Wordsworth's joy. and he hopes to continue loving it as he
has since his childhood.
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 Blow, Blow!
William Shakespeare
William Shakespeare is one of the greatest dramatists in English literature.
He was born in 1564 in Stratford-upon-Avon. He wrote several plays which are
considered masterpieces in the English literature. He also wrote many poems and
essays. Shakespeare's plays are translated into all international languages. He
died in 1616.
The occasion of the poem:
This poem is a song taken from his play "As You Like It". In the play, a
lawful duke was driven out of his dukedom by his wicked brother. The banished
duke went to live in the forest with some of his faithful followers. Orlando was
another man who was forced to leave his home to be safe from his wicked
brother. He too comes to live in the Forest of Arden. There he meets the banished
duke and joins him and his followers.
One day while they were all having a meal together, Amiens, one of the duke's
attendants sang that song which reveals the feelings of the duke and all his
attendants towards evil, and wickedness.
STANZA (1)
Blow, blow, thou winter wind,
Thou art not so unkind;
As man's ingratitude;
Thy tooth is not so keen,
Because thou art not seen,
Although thy breath be rude.
Heigh – ho! Sing heigh ho! Unto the green holly:
Most friendship is feigning, most loving mere folly.
Then heigh – ho! the holly!
This life is most jolly.
VOCABULARY:
Thou: you Ingratitude: unthankful ness
Keen: sharp Thy: your
Feigning: false/ untrue Mere: just/only
Folly: foolishness Jolly: pleasant
PARAPHRASE:
Here the poet asks the wind to blow hard. He says that the cold, strong
biting wind is much kinder than ungrateful friends. He adds that although the
wind blows very hard and it is unseen yet it is not as sharp as and can't hurt as
man's teeth. He says that most friendship is false and deceiving and loving is
mere foolishness. In this stanza the poet invites people to abandon their false life
and unfaithful friends and come back to nature where life is so simple and
everything is true and pleasant. Life in the forest is so pleasant and jolly and there
is nothing to worry about or fight for.

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STANZA (2)
Freeze, freeze, thou bitter sky,
That dost not bite so nigh
As benefits forgot:
Though thou the water wrap,
Thy sting is not so sharp
As friend remember'd not.
Heigh – ho! Sing heigh! Ho Unto the green holly.
Most friendship is feigning, most loving mere folly.
This life is most jolly.
VOCABULARY:
Bitter: painful Dost: does not
Nigh: hard Benefits: good deeds

PARAPHRASE:
In this stanza, the poet asks the winter cold to freeze the water. He says
that although the freezing water is so biting, it is less painful than a thankless
friend who forgets friendship. The effect of man's ingratitude is felt more and has
more bad effects on human beings than cold weather that is so shocking and it
can turn the water into ice.

Commentary:
summary of Blow, blow thou winter wind the poem entitled 'Blow! Blow! Thou
Winter Wind' is a song sung by the character named Amiens in the drama written by
William Shakespeare. Amiens is one of the lords who have by their own choice come with
Duke Senior, who had been banished by his brother. Amiens sings this song commenting
upon the ways of the world, and human ingratitude which is more biting than the piercing
cold winter wind.
The poet in the very beginning addresses the winter wind and says that it can blow
as much hard as it likes because it is not so harsh and rude like man's nature of being

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ungrateful. The attack of the winter wind is not so sharp because it is not visible although
it is bitingly cold.
The poet asks the frosty sky to freeze because it won't cause him deep pain as
caused by his friends who forget his favors instead of being thankful. The poet says that
although the waters are frozen, they don't cause sharp pain like one caused by his friend,
who doesn't even bother to remember him. Thus, the frozen faces of the world are more
painful than the frozen waters. We should always be singing throughout the year like
'holly' (an evergreen plant). The poet here says that the friendship is only a pretense and
loving is nothing but absurdity and foolery. He again tells that life is very wonderful and
should be fully enjoyed. It is like a song and should be sung.
The poet here projects a harsh reality through his song. The celebrated poet
Shakespeare is known for his wise words. He is his same self here. His statements are
weighty, pithy and precisely correct.
“Blow, Blow, Thou Winter Wind” is a poem from the Shakespeare playAs You
Like It. This poem is an example of a type of figurative language called personification.
When writers personify, they give human characteristics to their subject.
If you look carefully at this poem, you will see that it is not actually about the
winter wind at all. Shakespeare reveals his true meaning in the middle of the poem with
the line “Most friendship is feigning, most loving mere folly.” He is saying that people are
often not true to their “friends” or “loved ones,” or that their friendship or love is not real.
He uses the idea of a winter wind, which could be painful, to communicate how much
more painful the false love and friendship is. So, when he says of the wind, “Thy tooth is
not so keen,” he means that the pain caused by the wind (in the case, the wind’s
metaphorical “tooth” can cause pain by biting) is not as hurtful as the emotional pain of
the untrue friend or lover.
The personification is evident in the description of the wind. It is said to have a
“tooth” and “breath.” It is also said to be less “unkind” than the untrue friend. These are
human attributes rather than aspects of the wind. He uses the wind as a contrast to an
aspect of human life; therefore, he needs to personify it.
This poem is from Shakespeare’s play As You Like It. This is a son, sung by Amiens. He
is a lord, who chose to follow Duke senior, banished by his brother. In this song he

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comments upon the ways of the world and the human rudeness and ingratitude, which is
more biting than the winter wind.
In the beginning of the poem Amiens addresses the winter wind: it can blow as
strongly as it wills, but it cannot be as biting as human society.
The second part he partly accuses his friends for forgetting his favors and not being
thankful. Wind can freeze him, but it won’t be so painful as the behavior of his friends.
The poet here says that the friendship is only a pretense and loving is nothing but absurdity
and foolery. He again tells that life is very wonderful and should be fully enjoyed. It is like
a song and should be sung.
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 Solitary Reaper
by William Wordsworth
Behold her, single in the field,
Yon solitary Highland Lass!
Reaping and singing by herself;
Stop here, or gently pass!
Alone she cuts and binds the grain,
And sings a melancholy strain;
O listen! for the Vale profound
Is overflowing with the sound.
No Nightingale did ever chaunt
More welcome notes to weary bands
Of travellers in some shady haunt,
Among Arabian sands:
A voice so thrilling ne'er was heard
In spring-time from the Cuckoo-bird,
Breaking the silence of the seas
Among the farthest Hebrides.
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Will no one tell me what she sings?
Perhaps the plaintive numbers flow
For old, unhappy, far-off things,
And battles long ago:
Or is it some more humble lay,
Familiar matter of to-day?
Some natural sorrow, loss, or pain,
That has been, and may be again?
Whate'er the theme, the Maiden sang
As if her song could have no ending;
I saw her singing at her work,
And o'er the sickle bending;--
I listened, motionless and still;
And, as I mounted up the hill,
The music in my heart I bore,
Long after it was heard no more
Stanza one
Behold her, single in the field,
Yon solitary Highland Lass!
Reaping and singing by herself;
Stop here, or gently pass!
Alone she cuts and binds the grain,
And sings a melancholy strain;
O listen! for the Vale profound
Is overflowing with the sound.
Paraphrase:
In the first stanza the poet comes across a beautiful girl working a lone in the fields
of Scotland (the highland). The poet is asking the reader to look at her in admiration as she
is reaping grain. He tells the reader not to interrupt her. As she was singing, the valley
seemed to be full of her song.

Literary Terms:
In line three, the words 'reaping' and 'singing' rhyme together.

Metaphor:
The valley profound: He means that her music smoothly runs like the water in the valley.

Visual image: the image of the girl cutting and binding the grain. Also, the image of the
mountains and the valley.

Auditory Image: the sound of the girl singing, and the sound of the water in the valley.

Alliteration
in the words 'sings' and 'strain'

Rhyme scheme: abcbddee,

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Stanza two
No Nightingale did ever chaunt
More welcome notes to weary bands
Of travellers in some shady haunt,
Among Arabian sands:
A voice so thrilling ne'er was heard
In spring-time from the Cuckoo-bird,
Breaking the silence of the seas
Among the farthest Hebrides.
Paraphrase:
In the second stanza the poet mentions a list of things which cannot equal the beauty
of the girl's singing. He says that she sings mor beautifullt than the nightingale when it
sings for tired travelers ,who come to an oasis to rest after traveling a long way through the
desert. She sings better than the cuckoo during spring time in England. Her melodious
song seemed to break the silence of the sea.

Literary Terms:
Alliteration
in 'No' and 'nightingale', 'welcome' and 'weary', 'among' and 'arabian', and 'sience' and
'seas'.

Auditory images:
The voice of the two-birds, the nightingale and the cuckoo. And the voice of the girl which
breaks the silence of the nature.
Visual images:
The image of the Highland Islands and the Sand Desert.

Personification: The voice can't break anything else so it is given a human quality.

Rhyme scheme: a b a b c c d d,

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Stanza three
Will no one tell me what she sings?
Perhaps the plaintive numbers flow
For old, unhappy, far-off things,
And battles long ago:
Or is it some more humble lay,
Familiar matter of to-day?
Some natural sorrow, loss, or pain,
That has been, and may be again?
Paraphrase:
In the third stanza the poet declares that he cannot understand her song but he can
only guess what she was singing about. She might be singing about sorrowful incidents of
the past, such as a battle or defeat. She also might be singing about an unhappy incident of
the present, which may be repeated again.

Literary Terms:
The words 'familiar' and 'matter' rhyme together.

Auditory Image:
the sound of the girl's song which is sad and full of sorrow.

Alliteration:
'perhaps' and 'plaintive'.

Rhyme scheme: ababccdd

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Stanza four
Whate'er the theme, the Maiden sang
As if her song could have no ending;
I saw her singing at her work,
And o'er the sickle bending;--
I listened, motionless and still;
And, as I mounted up the hill
The music in my heart I bore,
Long after it was heard no more.

Paraphrase:
In the fourth and final stanza the poet tells the reader that although he could not
understand what she was singing about, the music stayed in his heart as he left her and
continued up the hill.

Literary Terms:
Alliteration
'saw' and 'singing', and 'music' and 'my'.

Visual Images:
1- The image of the girl swings the sickle.
2- The image of the listener on his horse walking up the mountain.
Auditory image:
The sound of the girl's song which hangs in the listener's heart for a long time and helps
him to go on.

Rhyme scheme: a b c b d d e e ,

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Commentary:
William Wordsworth's "The Solitary Reaper" is one of the most loved ballads in the
corpus of English Literature. The poem "The Solitary Reaper " was first published in
Poems, in Two Volumes in 1807.The poem was written after the publication of his Lyrical
Ballads and is in iambic tetrameter. The poem bears testimony to his theory how poetry
ought to focus on the mundane and the commonplace. His subject here is a Scottish
Highland lass who sings while reaping. Dorothy Wordsworth tells us in her diary how
solitary reapers were a common phenomenon in the Scottish scenario. Wordsworth
expresses his gratitude to Thomas Wilkinson for his manuscript that pertains to a tour of
Scotland.
The reaper is defined by her cutting and binding. She is described with the adjective
'solitary'. Nevertheless, it is this solitariness that sets her apart. Wordsworth often dealt
with solitary characters to exemplify that they were the sole companions of Nature and
were in total communion with the same. Her tremulous voice haunts the distances. The
valley seems to be significant, primarily for this enchanting music that envelops it. The
poet implores to: stop here or gently pass. He requests to stop to listen to the song; or
gently pass so as to not disturb the smooth flow of the song.

The metaphor of the Nightingale at once points to her commonness and

exclusiveness. It also underlines the power and purity of the voice of the lass that rouses
the poet from his reverie. Like some soothing balm to weary travelers, they act as shade to
wanderers overcome with fatigue traversing the deserts. The voice was hitherto the most
thrilling one he had heard. The voice of the cuckoo-bird in the spring-time, pales in
comparison. Its pervading presence breaks the silence of the seas among the farthest of the
Hebrides. 'Hebrides' refers to the North-Western coast of Scotland where reeds are
abundant. "Will no one tell me what she sings?-"makes obvious that the poet catches only
the tone of the melody, but not the lyrics. The poet catches the plaintive emotion the song
encompasses and speculates whether the song is in quest of something long-lost, is out of
nostalgia or grieves for heroes (of battles) unsung. Or does it pertain to any domestic
problem that is a daily routine, and may occur yet again: "Some natural sorrow, loss or
pain." The poet's here musings echo Keats' speculations regarding the stories behind the

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engravings on the Grecian Urn. Whatever the song dealt with; the maiden sang as though
there was no end to it. The beauty of the song lay in its melody, and its haunting quality
that continued to enchant the poet long after he was out of earshot. The theme of the poem
actually bears testimony to the power of poetry that if true to the aesthetic feel, endows the
reader with an experience to retain, long after the poem is read.

Theme:
It describes a nameless listener's delight in a young woman's melancholy song in an
unknown language as, working by herself in a Scottish valley, she swings a sickle, reaping
grain.
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