Pride and Prejudice is the second novel by English author Jane Austen, published in 1813. A novel of manners, it follows the character development of Elizabeth Bennet, the protagonist of the book, who learns about the repercussions of hasty judgments and comes to appreciate the difference between superficial goodness and actual goodness.
Mr Bennet, owner of the Longbourn estate in Hertfordshire, has five daughters, but his property is entailed and can only be passed to a male heir. His wife also lacks an inheritance, so his family faces becoming poor upon his death. Thus, it is imperative that at least one of the daughters marry well to support the others, which is a primary motivation driving the plot.
Pride and Prejudice has consistently appeared near the top of lists of "most-loved books" among literary scholars and the reading public. It has become one of the most popular novels in English literature, with over 20 million copies sold, and has inspired many derivatives in modern literature.[1][2] For more than a century, dramatic adaptations, reprints, unofficial sequels, films, and TV versions of Pride and Prejudice have portrayed the memorable characters and themes of the novel, reaching mass audiences.[3]
Plot summary
Mr Darcy says Elizabeth is "not handsome enough to tempt him" to dance. (Artist: C.E. Brock, 1895)
In the early 19th century, the Bennet family live at their Longbourn estate, situated near the village of Meryton in Hertfordshire, England. Mrs Bennet's greatest desire is to marry off her five daughters to secure their futures.
The arrival of Mr Bingley, a rich bachelor who rents the neighbouring Netherfield estate, gives her hope that one of her daughters might contract a marriage to the advantage, because "It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife".
At a ball, the family is introduced to the Netherfield party, including Mr Bingley, his two sisters and Mr Darcy, his dearest friend. Mr Bingley's friendly and cheerful manner earns him popularity among the guests. He appears interested in Jane, the eldest Bennet daughter. Mr Darcy, reputed to be twice as wealthy as Mr Bingley, is haughty and aloof, causing a decided dislike of him. He declines to dance with Elizabeth, the second-eldest Bennet daughter, as she is "not handsome enough". Although she jokes about it with her friend, Elizabeth is deeply offended. Despite this first impression, Mr Darcy secretly begins to find himself drawn to Elizabeth as they continue to encounter each other at social events, appreciating her wit and frankness.
Mr Collins, the heir to the Longbourn estate, visits the Bennet family with the intention of finding a wife among the five girls under the advice of his patroness Lady Catherine de Bourgh, also revealed to be Mr Darcy's aunt. He decides to pursue Elizabeth. The Bennet family meet the charming army officer George Wickham, who tells Elizabeth in confidence about Mr Darcy's unpleasant treatment of him in the past. Elizabeth, blinded by her prejudice toward Mr Darcy, believes him.
Elizabeth dances with Mr Darcy at a ball, where Mrs Bennet hints loudly that she expects Jane and Bingley to become engaged. Elizabeth rejects Mr Collins' marriage proposal, to her mother's fury and her father's relief. Mr Collins subsequently proposes to Charlotte Lucas, a friend of Elizabeth, and is accepted.
Having heard Mrs Bennet's words at the ball and disapproving of the marriage, Mr Darcy joins Mr Bingley in a trip to London and, with the help of his sisters, persuades him not to return to Netherfield. A heartbroken Jane visits her Aunt and Uncle Gardiner in London to raise her spirits, while Elizabeth's hatred for Mr Darcy grows as she suspects he was responsible for Mr Bingley's departure.
Elizabeth tells her father that Darcy was responsible for uniting Lydia and Wickham, in one of the two earliest illustrations of Pride and Prejudice. The clothing styles reflect the time the illustration was engraved (the 1830s), not the time in which the novel was written or set.
In the spring, Elizabeth visits Charlotte and Mr Collins in Kent. Elizabeth and her hosts are invited to Rosings Park, Lady Catherine's home. Mr Darcy and his cousin, Colonel Fitzwilliam, are also visiting Rosings Park. Fitzwilliam tells Elizabeth how Mr Darcy recently saved a friend, presumably Bingley, from an undesirable match. Elizabeth realises that the prevented engagement was to Jane.
Mr Darcy proposes to Elizabeth, declaring his love for her despite her low social connections. She is shocked, as she was unaware of Mr Darcy's interest, and rejects him angrily, saying that he is the last person she would ever marry and that she could never love a man who caused her sister such unhappiness; she further accuses him of treating Wickham unjustly. Mr Darcy brags about his success in separating Bingley and Jane and sarcastically dismisses the accusation regarding Wickham without addressing it.
The next day, Mr Darcy gives Elizabeth a letter, explaining that Wickham, the son of his late father's steward, had refused the "living" his father had arranged for him and was instead given money for it. Wickham quickly squandered the money and tried to elope with Darcy's 15-year-old sister, Georgiana, for her considerable dowry. Mr Darcy also writes that he separated Jane and Bingley because he believed her to be indifferent to Bingley and because of the lack of propriety displayed by her family. Elizabeth is ashamed by her family's behaviour and her own prejudice against Mr Darcy.
Months later, Elizabeth accompanies the Gardiners on a tour of Derbyshire. They visit Pemberley, Darcy's estate. When Mr Darcy returns unexpectedly, he is exceedingly gracious with Elizabeth and the Gardiners. Elizabeth is surprised by Darcy's behaviour and grows fond of him, even coming to regret rejecting his proposal. She receives news that her sister Lydia has run off with Wickham. She tells Mr Darcy, then departs in haste. After an agonising interim, Wickham agrees to marry Lydia. Lydia and Wickham visit the Bennet family at Longbourn, where Lydia tells Elizabeth that Mr Darcy was at her wedding. Though Mr Darcy had sworn everyone involved to secrecy, Mrs Gardiner now feels obliged to inform Elizabeth that he secured the match, at great expense and trouble to himself.
Mr Bingley and Mr Darcy return to Netherfield. Jane accepts Mr Bingley's proposal. Lady Catherine, having heard rumours that Elizabeth intends to marry Mr Darcy, visits her and demands she promise never to accept Mr Darcy's proposal, as she and Darcy's late mother had already planned his marriage to her daughter Anne. Elizabeth refuses and asks the outraged Lady Catherine to leave. Darcy, heartened by his aunt's indignant relaying of Elizabeth's response, again proposes to her and is accepted.
Scenes from Pride and Prejudice, by C. E. Brock (c. 1885)Elizabeth and Mr Darcy by Hugh Thomson, 1894
Elizabeth Bennet– the second-eldest of the Bennet daughters, she is attractive, witty and intelligent– but with a tendency to form tenacious and prejudiced first impressions. As the story progresses, so does her relationship with Mr Darcy. The course of Elizabeth and Darcy's relationship is ultimately decided when Darcy overcomes his pride, and Elizabeth overcomes her prejudice, leading them both to surrender to their love for each other.
Mr Fitzwilliam Darcy– Mr Bingley's friend and the wealthy owner of the estate of Pemberley in Derbyshire, said to be worth at least £10,000 a year. Although he is handsome, tall, and intelligent, Darcy lacks ease and social graces, so others frequently mistake his initially haughty reserve as proof of excessive pride. A new visitor to the Meryton setting of the novel, he is ultimately Elizabeth Bennet's love interest. Though he appears to be proud and is largely disliked by people for this reason, his servants vouch for his kindness and decency.
Mr Bennet– A logical and reasonable late-middle-aged landed gentleman of a more modest income of £2,000 per annum, and the dryly sarcastic patriarch of the Bennet family, with five unmarried daughters. His estate, Longbourn, is entailed to the male line. His affection for his wife wore off early in their marriage and is now reduced to mere toleration. He is often described as 'indolent' in the novel.
Mrs Bennet (néeGardiner)– the middle-aged wife of Mr Bennet, and the mother of their five daughters. Mrs Bennet is a hypochondriac who imagines herself susceptible to attacks of tremors and palpitations (her "poor nerves") whenever things are not going her way. Her main ambition in life is to marry her daughters off to wealthy men. Whether or not any such matches will give her daughters happiness is of little concern to her. She was settled a dowry of £4,000 from her father.
In a letter to Cassandra dated May 1813, Jane Austen describes a picture she saw at a gallery which was a good likeness of "Mrs Bingley" – Jane Bennet. Deirdre Le Faye in The World of Her Novels suggests that "Portrait of Mrs Q" is the picture Austen was referring to. (pp. 201–203)
Jane Bennet – the eldest Bennet sister. She is considered the most beautiful young lady in the neighbourhood and is inclined to see only the good in others (but can be persuaded otherwise on sufficient evidence). She falls in love with Charles Bingley, a rich young gentleman recently moved to Hertfordshire and a close friend of Mr Darcy.
Mary Bennet– the middle Bennet sister, and the plainest of her siblings. Mary has a serious disposition and mostly reads and plays music, although she is often impatient to display her accomplishments and is rather vain about them. She frequently moralises to her family. According to James Edward Austen-Leigh's A Memoir of Jane Austen, Mary ended up marrying one of her Uncle Philips' law clerks and moving into Meryton with him.
Catherine "Kitty" Bennet– the fourth Bennet daughter. Though older than Lydia, she is her shadow and follows her in her pursuit of the officers of the militia. She is often portrayed as envious of Lydia and is described as a "silly" young woman. However, it is said that she improved when removed from Lydia's influence. According to James Edward Austen-Leigh's A Memoir of Jane Austen, Kitty later married a clergyman who lived near Pemberley.
Lydia Bennet– the youngest Bennet sister. She is frivolous and headstrong. Her main activity in life is socialising, especially flirting with the officers of the militia. This leads to her running off with George Wickham, although he has no intention of marrying her. Lydia shows no regard for the moral code of her society; as Ashley Tauchert says, she "feels without reasoning".[5]
Charles Bingley– a handsome, amiable, and wealthy young gentleman who leases Netherfield Park with hopes of purchasing it. Though generally well-mannered, he is easily influenced by his friend Mr Darcy and his sisters, which leads to the disruption of his romance with Jane Bennet. He inherited a fortune of £100,000.[6]
Caroline Bingley– the snobbish sister of Charles Bingley, with a fortune of £20,000. She harbours designs on Mr Darcy and is jealous of his growing attachment to Elizabeth. She also disapproves of her brother's admiration for Jane Bennet and is disdainful of Meryton society, driven by her vanity and desire for social elevation.
George Wickham– Wickham has been acquainted with Mr Darcy since infancy, being the son of Mr Darcy's father's steward. An officer in the militia, he is superficially charming and rapidly forms an attachment with Elizabeth Bennet. He later runs off with Lydia with no intention of marriage, which would have resulted in her and her family's complete disgrace, but for Darcy's intervention to bribe Wickham to marry her by paying off his immediate debts.
Mr William Collins– Mr Collins is Mr Bennet's distant second cousin, a clergyman, and the current heir presumptive to his estate of Longbourn House. He is an obsequious and pompous man, prone to making long and tedious speeches, who is excessively devoted to his patroness, Lady Catherine de Bourgh.
Lady Catherine de Bourgh– the overbearing aunt of Mr Darcy. Lady Catherine is the wealthy owner of Rosings Park, where she resides with her daughter Anne and is fawned upon by her rector, Mr Collins. She is haughty, pompous, domineering, and condescending and has long planned to marry off her sickly daughter to Darcy to 'unite their two great estates', claiming it to be the dearest wish of both her and her late sister, Lady Anne Darcy (née Fitzwilliam).
Mr Edward Gardiner and Mrs Gardiner– Edward Gardiner is Mrs Bennet's brother and a successful tradesman of sensible and gentlemanly character. Aunt Gardiner is genteel and elegant and is close to her nieces Jane and Elizabeth. The Gardiners are the parents of four children. They are instrumental in bringing about the marriage between Darcy and Elizabeth.
Georgiana Darcy– Georgiana is Mr Darcy's quiet, amiable and shy younger sister, with a dowry of £30,000, and is 16 when the story begins. When still 15, Miss Darcy almost eloped with Mr Wickham but was saved by her brother, whom she idolises. Thanks to years of tutelage under masters, she is accomplished at the piano, singing, playing the harp, drawing, and modern languages and is therefore described as Caroline Bingley's idea of an "accomplished woman".
Charlotte Lucas– Elizabeth's 27-year-old friend. She marries Mr Collins for financial security, fearing becoming a burden to her family. Austen uses Charlotte's decision to illustrate how women of the time often married out of convenience rather than love, without condemning her choice.[7] Charlotte is the daughter of Sir William Lucas and Lady Lucas, neighbours of the Bennet family.
Colonel Fitzwilliam– Colonel Fitzwilliam is the younger son of an earl and the nephew of Lady Catherine de Bourgh and Lady Anne Darcy; this makes him the cousin of Anne de Bourgh and the Darcy siblings, Fitzwilliam and Georgiana. He is about 30 years old at the beginning of the novel. He is the coguardian of Miss Georgiana Darcy, along with his cousin, Mr Darcy. According to Colonel Fitzwilliam, as a younger son, he cannot marry without thought to his prospective bride's dowry.
Diagram showing relationships among the principal characters of Pride and Prejudice
Major themes
Many critics take the title as the start when analysing the themes of Pride and Prejudice but Robert Fox cautions against reading too much into the title (which was initially First Impressions), because commercial factors may have played a role in its selection. "After the success of Sense and Sensibility, nothing would have seemed more natural than to bring out another novel of the same author using again the formula of antithesis and alliteration for the title."
The qualities of the title are not exclusively assigned to one or the other of the protagonists; both Elizabeth and Darcy display pride and prejudice."[8] The phrase "pride and prejudice" had been used over the preceding two centuries by Joseph Hall, Jeremy Taylor, Joseph Addison and Samuel Johnson.[9][10] Austen is thought to have taken her title from a passage in Fanny Burney's Cecilia (1782), a novel she is known to have admired:
"The whole of this unfortunate business," said Dr Lyster, "has been the result of PRIDE and PREJUDICE. ... if to PRIDE and PREJUDICE you owe your miseries, so wonderfully is good and evil balanced, that to PRIDE and PREJUDICE you will also owe their termination."[10][11] (capitalisation as in the original)
A theme in much of Austen's work is the importance of environment and upbringing in developing young people's character and morality.[12] Social standing and wealth are not necessarily advantages in her works, and a further theme common to Austen's work is ineffectual parents. In Pride and Prejudice, the failure of Mr and Mrs Bennet as parents is blamed for Lydia's lack of moral judgment. Darcy has been taught to be principled and scrupulously honourable but he is also proud and overbearing.[12] Kitty, rescued from Lydia's bad influence and spending more time with her older sisters after they marry, is said to improve greatly in their superior society.[13]
The American novelist Anna Quindlen observed in an introduction to an edition of Austen's novel in 1995:
Pride and Prejudice is also about that thing that all great novels consider, the search for self. And it is the first great novel that teaches us this search is as surely undertaken in the drawing room making small talk as in the pursuit of a great white whale or the public punishment of adultery.[14]
Marriage
The opening line of the novel announces: "It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife."[15] This sets marriage as a motif and a central idea in the novel. Readers are poised to question whether or not these single men need a wife, or if the need is dictated by the "neighbourhood" families and their daughters who require a "good fortune". According to American Book Review the opening line of Pride and Prejudice is considered second on their list of top 100 greatest opening lines in English literature behind only "Call me Ishmael:" from Moby Dick.
Marriage is a complex social activity that takes political and financial economy into account. In the case of Charlotte Lucas, the seeming success of her marriage lies in the comfortable financial circumstances of their household, while the relationship between Mr and Mrs Bennet serves to illustrate bad marriages based on an initial attraction and surface over substance (economic and psychological).
The Bennets' marriage is an example that the youngest Bennet, Lydia, re-enacts with Wickham and the results are far from felicitous. Although the central characters, Elizabeth and Darcy, begin the novel as hostile acquaintances and unlikely friends, they eventually work toward a better understanding of themselves and each other, which frees them to truly fall in love. This does not eliminate the challenges of the real differences in their technically equivalent social status as gentry and their female relations. It does however provide them with a better understanding of each other's point of view from the different ends of the rather wide scale of differences within that category.
When Elizabeth rejects Darcy's first proposal, the argument of marrying for love is introduced. Elizabeth only accepts Darcy's proposal when she is certain she loves him and her feelings are reciprocated.[16] Austen's complex sketching of different marriages ultimately allows readers to question what forms of alliance are desirable especially when it comes to privileging economic, sexual, or companionate attraction.[17]
Wealth
Money plays a fundamental role in the marriage market, for the young ladies seeking a well-off husband and for men who wish to marry a woman of means. George Wickham tries to elope with Georgiana Darcy, and Colonel Fitzwilliam states that he will marry someone with wealth.
Marrying a woman of a rich family also ensured a linkage to a higher-class family, as is visible in the desires of Bingley's sisters to have their brother married to Georgiana Darcy. Mrs Bennet is frequently seen encouraging her daughters to marry a wealthy man of high social class. In chapter 1, when Mr Bingley arrives, she declares "I am thinking of his marrying one of them".[18]
Inheritance was by descent but could be further restricted by entailment, which in the case of the Longbourn estate restricted inheritance to male heirs only. In the case of the Bennet family, Mr Collins was to inherit the family estate upon Mr Bennet's death in the absence of any closer male heirs, and his proposal to Elizabeth would have ensured her security; but she refuses his offer.
Inheritance laws benefited males because married women did not have independent legal rights until the second half of the 19th century. For the upper-middle and aristocratic classes, marriage to a man with a reliable income was almost the only route to security for the woman and the children she was to have.[19] The irony of the opening line is that generally within this society it would be a woman who would be looking for a wealthy husband to have a prosperous life.[20]
Class
Lady Catherine and Elizabeth by C. E. Brock, 1895Lady Catherine confronts Elizabeth about Darcy, on the title page of the first illustrated edition. This is the other of the first two illustrations of the novel.
Austen might be known now for her "romances" but the marriages in her novels engage with economics and class distinction. Pride and Prejudice is hardly the exception.
When Darcy proposes to Elizabeth, he cites their economic and social differences as an obstacle his excessive love has had to overcome, though he still anxiously harps on the problems it poses for him within his social circle. His aunt, Lady Catherine, later characterises these differences in particularly harsh terms when she conveys what Elizabeth's marriage to Darcy will become, "Will the shades of Pemberley be thus polluted?" Although Elizabeth responds to Lady Catherine's accusations that hers is a potentially contaminating economic and social position (Elizabeth even insists she and Darcy, as gentleman's daughter and gentleman, are "equals"), Lady Catherine refuses to accept the possibility of Darcy's marriage to Elizabeth. However, as the novel closes, "...through curiosity to see how his wife conducted herself", Lady Catherine condescends to visit them at Pemberley.[21]
The Bingleys present a particular problem for navigating class. Though Caroline Bingley and Mrs Hurst behave and speak of others as if they have always belonged in the upper echelons of society, Austen makes it clear that the Bingley fortunes stem from trade. The fact that Bingley rents Netherfield Hall– it is, after all, "to let"– distinguishes him significantly from Darcy, whose estate belonged to his father's family and who through his mother is the grandson and nephew of an earl. Bingley, unlike Darcy, does not own his property but has portable and growing wealth that makes him a good catch on the marriage market for poorer daughters of the gentry, like Jane Bennet, or of ambitious merchants. Class plays a central role in the evolution of the characters and Jane Austen's radical approach to class is seen as the plot unfolds.[22]
An undercurrent of the old Anglo-Norman upper class is hinted at in the story, as suggested by the names of Fitzwilliam Darcy and his aunt, Lady Catherine de Bourgh; Fitzwilliam, D'Arcy, de Bourgh (Burke), and even Bennet, are traditional Norman surnames.[23]
Self-knowledge
Through their interactions and their critiques of each other, Darcy and Elizabeth come to recognise their faults and work to correct them. Elizabeth meditates on her own mistakes thoroughly in chapter 36:
"How despicably have I acted!" she cried; "I, who have prided myself on my discernment! I, who have valued myself on my abilities! who have often disdained the generous candour of my sister, and gratified my vanity in useless or blameable distrust. How humiliating is this discovery! yet, how just a humiliation! Had I been in love, I could not have been more wretchedly blind. But vanity, not love, has been my folly. Pleased with the preference of one, and offended by the neglect of the other, on the very beginning of our acquaintance, I have courted prepossession and ignorance, and driven reason away, where either were concerned. Till this moment I never knew myself."[24]
Other characters rarely exhibit this depth of understanding or at least are not given the space within the novel for this sort of development.
Tanner writes that Mrs Bennet in particular, "has a very limited view of the requirements of that performance; lacking any introspective tendencies she is incapable of appreciating the feelings of others and is only aware of material objects".[25] Mrs Bennet's behaviour reflects the society in which she lives, as she knows that her daughters will not succeed if they do not get married. "The business of her life was to get her daughters married: its solace was visiting and news."[26] This shows that Mrs Bennet is only aware of "material objects" and not of her feelings and emotions.[27]
A notable exception is Charlotte Lucas, Elizabeth Bennet's close friend and confidant. She accepts Mr Collins's proposal of marriage once Lizzie rejects him, not out of sentiment but acute awareness of her circumstances as "one of a large family". Charlotte's decision is reflective of her prudent nature and awareness.
Style
Pride and Prejudice, like most of Austen's works, employs the narrative technique of free indirect speech, which has been defined as "the free representation of a character's speech, by which one means, not words actually spoken by a character, but the words that typify the character's thoughts, or the way the character would think or speak, if she thought or spoke".[28]
Austen creates her characters with fully developed personalities and unique voices. Though Darcy and Elizabeth are very alike, they are also considerably different.[29] By using narrative that adopts the tone and vocabulary of a particular character (in this case, Elizabeth), Austen invites the reader to follow events from Elizabeth's viewpoint, sharing her prejudices and misapprehensions. "The learning curve, while undergone by both protagonists, is disclosed to us solely through Elizabeth's point of view and her free indirect speech is essential... for it is through it that we remain caught, if not stuck, within Elizabeth's misprisions."[28]
The few times the reader is allowed to gain further knowledge of another character's feelings, is through the letters exchanged in this novel. Darcy's first letter to Elizabeth is an example of this as through his letter, the reader and Elizabeth are both given knowledge of Wickham's true character.
Austen is known to use irony throughout the novel especially from viewpoint of the character of Elizabeth Bennet. She conveys the "oppressive rules of femininity that actually dominate her life and work, and are covered by her beautifully carved trojan horse of ironic distance."[5] Beginning with a historical investigation of the development of a particular literary form and then transitioning into empirical verifications, it reveals free indirect discourse as a tool that emerged over time as practical means for addressing the physical distinctness of minds. Seen in this way, free indirect discourse is a distinctly literary response to an environmental concern, providing a scientific justification that does not reduce literature to a mechanical extension of biology, but takes its value to be its own original form.[30]
Development of the novel
Page 2 of a letter from Jane Austen to her sister Cassandra (11 June 1799) in which she first mentions Pride and Prejudice, using its working title First Impressions.
Austen began writing the novel after staying at Goodnestone Park in Kent with her brother Edward and his wife in 1796.[31] It was originally titled First Impressions, and was written between October 1796 and August 1797.[32] On 1 November 1797 Austen's father sent a letter to London bookseller Thomas Cadell to ask if he had any interest in seeing the manuscript, but the offer was declined by return post.[33]
The militia were mobilised after the French declaration of war on Britain in February 1793, and there was initially a lack of barracks for all the militia regiments, requiring the militia to set up huge camps in the countryside, which the novel refers to several times.[34]:57 The Brighton camp for which the militia regiment leaves in May after spending the winter in Meryton was opened in August 1793, and the barracks for all the regiments of the militia were completed by 1796, placing the events of the novel between 1793 and 1795.[34]:56–57
Austen made significant revisions to the manuscript for First Impressions between 1811 and 1812.[32] As nothing remains of the original manuscript, study of the first drafts of the novel is reduced to conjecture. From the large number of letters in the final novel, it is assumed that First Impressions was an epistolary novel.[35]
She later renamed the story Pride and Prejudice around 1811/1812, when she sold the rights to publish the manuscript to Thomas Egerton for £110[36] (equivalent to £9,300in 2023). In renaming the novel, Austen probably had in mind the "sufferings and oppositions" summarised in the final chapter of Fanny Burney's Cecilia, called "Pride and Prejudice", where the phrase appears three times in block capitals.[12]
It is possible that the novel's original title was altered to avoid confusion with other works. In the years between the completion of First Impressions and its revision into Pride and Prejudice, two other works had been published under that name: a novel by Margaret Holford and a comedy by Horace Smith.[33]
Publication history
Title page of a 1907 edition illustrated by C. E. Brock
Austen sold the copyright for the novel to Thomas Egerton from the Military Library, Whitehall in exchange for £110 (Austen had asked for £150).[37] This proved a costly decision. Austen had published Sense and Sensibility on a commission basis, whereby she indemnified the publisher against any losses and received any profits, less costs and the publisher's commission. Unaware that Sense and Sensibility would sell out its edition, making her £140,[33] she passed the copyright to Egerton for a one-off payment, meaning that all the risk (and all the profits) would be his. Jan Fergus has calculated that Egerton subsequently made around £450 from just the first two editions of the book.[38]
Egerton published the first edition of Pride and Prejudice in three hardcover volumes on 28 January 1813.[39] It was advertised in The Morning Chronicle, priced at 18s.[32] Favourable reviews saw this edition sold out, with a second edition published in October that year. A third edition was published in 1817.[37]
Foreign language translations first appeared in 1813 in French; subsequent translations were published in German, Danish, and Swedish.[40]Pride and Prejudice was first published in the United States in August 1832 as Elizabeth Bennet or, Pride and Prejudice.[37] The novel was also included in Richard Bentley's Standard Novel series in 1833. R. W. Chapman's scholarly edition of Pride and Prejudice, first published in 1923, has become the standard edition on which many modern published versions of the novel are based.[37]
The novel was originally published anonymously, as were all of Austen's novels. However, whereas her first published novel, Sense and Sensibility was presented as being written "by a Lady," Pride and Prejudice was attributed to "the Author of Sense and Sensibility". This began to consolidate a conception of Austen as an author, albeit anonymously. Her subsequent novels were similarly attributed to the anonymous author of all her then-published works.
The novel was well received, with three favourable reviews in the first months following publication.[38]Anne Isabella Milbanke, later to be the wife of Lord Byron, called it "the fashionable novel".[38] Noted critic and reviewer George Henry Lewes declared that he "would rather have written Pride and Prejudice, or Tom Jones, than any of the Waverley Novels".[41]
Throughout the 19th century, not all reviews of the work were positive. Charlotte Brontë, in a letter to Lewes, wrote that Pride and Prejudice was a disappointment, "a carefully fenced, highly cultivated garden, with neat borders and delicate flowers; but [...] no open country, no fresh air, no blue hill, no bonny beck".[41][42] Along with her, Mark Twain was overwhelmingly negative of the work. He stated, "Everytime I read Pride and Prejudice I want to dig [Austen] up and beat her over the skull with her own shin-bone."[43]
Austen for her part thought the "playfulness and epigrammaticism" of Pride and Prejudice was excessive, complaining in a letter to her sister Cassandra in 1813 that the novel lacked "shade" and should have had a chapter "of solemn specious nonsense, about something unconnected with the story; an essay on writing, a critique on Walter Scott or the history of Buonaparté".[44]
Walter Scott wrote in his journal, "Read again and for the third time at least, Miss Austen's very finely written novel of Pride and Prejudice."[45]
20th century
You could not shock her more than she shocks me, Beside her Joyce seems innocent as grass. It makes me most uncomfortable to see An English spinster of the middle class Describe the amorous effects of 'brass', Reveal so frankly and with such sobriety The economic basis of society.
The American scholar Claudia L. Johnson defended the novel from the criticism that it has an unrealistic fairy-tale quality.[46] One critic, Mary Poovey, wrote that the "romantic conclusion" of Pride and Prejudice is an attempt to hedge the conflict between the "individualistic perspective inherent in the bourgeois value system and the authoritarian hierarchy retained from traditional, paternalistic society".[46] Johnson wrote that Austen's view of a power structure capable of reformation was not an "escape" from conflict.[46] Johnson wrote the "outrageous unconventionality" of Elizabeth Bennet was in Austen's own time very daring, especially given the strict censorship that was imposed in Britain by the Prime Minister, William Pitt, in the 1790s when Austen wrote Pride and Prejudice.[46]
In the early twentieth century, the term "Collins," named for Austen's William Collins, came into use as slang for a thank-you note to a host.[47][48]
In 2017, the bicentenary year of Austen's death, Pride and Prejudice – An adaptation in Words and Music to music by Carl Davis from the 1995 film and text by Gill Hornby was performed in the UK, with Hayley Mills as the narrator[72] This adaptation was presented in 2024 at the Sydney Opera House and the Arts Centre Melbourne, narrated by Nadine Garner.[73]
Fire Island is a movie written by Joel Kim Booster that reimagines Pride and Prejudice as a gay drama set on the quintessential gay vacation destination of Fire Island. Booster describes the movie "as an unapologetic and modern twist on Jane Austen's Pride and Prejudice."[75] The movie was released in June 2022 and features a main cast of Asian-American actors.
Jane Austen Ruined My Life and Mr Darcy Broke My Heart by Beth Pattillo
Precipitation – A Continuation of Miss Jane Austen's Pride and Prejudice by Helen Baker
Searching for Pemberley by Mary Simonsen
Mr Darcy Takes a Wife and its sequel Darcy & Elizabeth: Nights and Days at Pemberley by Linda Berdoll
In Gwyn Cready's comedic romance novel, Seducing Mr Darcy, the heroine lands in Pride and Prejudice by way of magic massage, has a fling with Darcy and unknowingly changes the rest of the story.[76]
Abigail Reynolds is the author of seven Regency-set variations on Pride and Prejudice. Her Pemberley Variations series includes Mr Darcy's Obsession, To Conquer Mr Darcy, What Would Mr Darcy Do and Mr Fitzwilliam Darcy: The Last Man in the World. Her modern adaptation, The Man Who Loved Pride and Prejudice, is set on Cape Cod.[77]
Bella Breen is the author of nine variations on Pride and Prejudice. Pride and Prejudice and Poison, Four Months to Wed, Forced to Marry and The Rescue of Elizabeth Bennet.[78]
In 2011, author Mitzi Szereto expanded on the novel in Pride and Prejudice: Hidden Lusts, a historical sex parody that parallels the original plot and writing style of Jane Austen.
Marvel has also published their take on this classic by releasing a short comic series of five issues that stays true to the original storyline. The first issue was published on 1 April 2009 and was written by Nancy Hajeski.[81] It was published as a graphic novel in 2010 with artwork by Hugo Petrus.
Pamela Aidan is the author of a trilogy of books telling the story of Pride and Prejudice from Mr Darcy's point of view: Fitzwilliam Darcy, Gentleman. The books are An Assembly Such as This,[82]Duty and Desire[83] and These Three Remain.[84]
Detective novel author P. D. James has written a book titled Death Comes to Pemberley, which is a murder mystery set six years after Elizabeth and Darcy's marriage.[85]
Sandra Lerner's sequel to Pride and Prejudice, Second Impressions, develops the story and imagined what might have happened to the original novel's characters. It is written in the style of Austen after extensive research into the period and language and published in 2011 under the pen name of Ava Farmer.[86]
Jo Baker's bestselling 2013 novel Longbourn imagines the lives of the servants of Pride and Prejudice.[87] A cinematic adaptation of Longbourn was due to start filming in late 2018, directed by Sharon Maguire, who also directed Bridget Jones's Diary and Bridget Jones's Baby, screenplay by Jessica Swale, produced by Random House Films and StudioCanal.[88] The novel was also adapted for radio, appearing on BBC Radio 4's Book at Bedtime, abridged by Sara Davies and read by Sophie Thompson. It was first broadcast in May 2014; and again on Radio 4 Extra in September 2018.[89]
In the novel Eligible, Curtis Sittenfeld sets the characters of Pride and Prejudice in modern-day Cincinnati, where the Bennet parents, erstwhile Cincinnati social climbers, have fallen on hard times. Elizabeth, a successful and independent New York journalist, and her single older sister Jane must intervene to salvage the family's financial situation and get their unemployed adult sisters to move out of the house and onward in life. In the process they encounter Chip Bingley, a young doctor and reluctant reality TV celebrity, and his medical school classmate, Fitzwilliam Darcy, a cynical neurosurgeon.[90][91]
Pride and Prejudice has also inspired works of scientific writing. In 2010, scientists named a pheromone identified in male mouse urine darcin,[92] after Mr Darcy, because it strongly attracted females. In 2016, a scientific paper published in the Journal of Inherited Metabolic Disease speculated that Mrs Bennet may have been a carrier of a rare genetic disease, explaining why the Bennets didn't have any sons, and why some of the Bennet sisters are so silly.[93]
In summer 2014, Udon Entertainment's Manga Classics line published a manga adaptation of Pride and Prejudice.[94]
Related Research Articles
Pride and Prejudice is a six-episode 1995 British television drama, adapted by Andrew Davies from Jane Austen's 1813 novel of the same name. Jennifer Ehle and Colin Firth starred as Elizabeth Bennet and Fitzwilliam Darcy, respectively. Produced by Sue Birtwistle and directed by Simon Langton, the serial was a BBC production with additional funding from the American A&E Network. BBC1 originally broadcast the 55-minute episodes from 24 September to 29 October 1995. The A&E Network aired the series in double episodes on three consecutive nights beginning 14 January 1996.
Pride & Prejudice is a 2005 historical romantic drama film directed by Joe Wright, in his feature directorial debut, and based on Jane Austen's 1813 novel. The film features five sisters from an English family of landed gentry as they deal with issues of marriage, morality, and misconceptions. Keira Knightley stars as Elizabeth Bennet, while Matthew Macfadyen plays Mr Darcy, who falls in love with her.
Elizabeth Bennet is the protagonist in the 1813 novel Pride and Prejudice by Jane Austen. She is often referred to as Eliza or Lizzy by her friends and family. Elizabeth is the second child in a family of five daughters. Though the circumstances of the time and environment push her to seek a marriage of convenience for economic security, Elizabeth wishes to marry for love.
Pride and Prejudice is a 1940 American film adaptation of Jane Austen's 1813 novel Pride and Prejudice, starring Greer Garson and Laurence Olivier. Directed by Robert Z. Leonard, the screenplay was written by Aldous Huxley and Jane Murfin, adapted specifically from the stage adaptation by Helen Jerome, in addition to Jane Austen's novel.
Pride & Prejudice: A Latter-Day Comedy is a 2003 independent romantic comedy film directed by Andrew Black and produced by Jason Faller. The screenplay, by Anne Black, Jason Faller, and Katherine Swigert, is an adaptation of Jane Austen's 1813 novel Pride and Prejudice set in modern-day Provo, Utah. The film stars Kam Heskin as college student Elizabeth Bennet whose dreams of becoming an author supersede the cultural and societal pressures to be married. Elizabeth tries to escape the advances of several bachelors, including handsome but haughty businessman Will Darcy.
Pride and Prejudice is a 1980 television serial, adapted by British novelist Fay Weldon from Jane Austen's 1813 novel of the same name. It is a co-production of the BBC and the Australian Broadcasting Corporation. The five-episode dramatisation stars Elizabeth Garvie as Elizabeth Bennet and David Rintoul as Mr. Darcy. In the US, it was broadcast by PBS television as part of Masterpiece Theatre.
Fitzwilliam Darcy Esquire, generally referred to as Mr. Darcy, is one of the two central characters in Jane Austen's 1813 novel Pride and Prejudice. He is an archetype of the aloof romantic hero, and a romantic interest of Elizabeth Bennet, the novel's protagonist. The story's narration is almost exclusively from Elizabeth's perspective; the reader is given a one-sided view of Darcy for much of the novel, but hints are given throughout that there is much more to his character than meets the eye. The reader gets a healthy dose of dramatic irony as Elizabeth continually censures Mr. Darcy's character despite the aforementioned hints that Mr. Darcy is really a noble character at heart, albeit somewhat prideful. Usually referred to only as "Mr. Darcy" or "Darcy" by characters and the narrator, his first name is mentioned twice in the novel.
Fitzwilliam Darcy, Gentleman is the collective name given to a trilogy of historical romance novels written by Pamela Aidan. As the title suggests, they are based heavily on Jane Austen's 1813 novel Pride and Prejudice, and feature many events of the novel as seen from the perspective of Mr. Fitzwilliam Darcy, the central male character of Austen's novel.
These Three Remain is a 2005 historical romance novel by Pamela Aidan. It is the third and final novel in the Fitzwilliam Darcy, Gentleman trilogy, a series of novels examining Jane Austen's 1813 novel Pride and Prejudice from the perspective of Fitzwilliam Darcy, the central male character of that book.
Lost in Austen is a four-part 2008 British television series for the ITV network, written by Guy Andrews as a fantasy adaptation of the 1813 novel Pride and Prejudice by Jane Austen. Amanda, a young woman living in modern London, enters the plot of the novel through a portal in her bathroom, to join the Bennet family and affect events, generally disastrously.
Pride and Prejudice and Zombies is a 2009 parody novel by Seth Grahame-Smith. It is a mashup combining Jane Austen's classic 1813 novel Pride and Prejudice with elements of modern zombie fiction, crediting Austen as co-author. It was first published in April 2009 by Quirk Books and in October 2009 a Deluxe Edition was released, containing full-color images and additional zombie scenes. The novel was adapted into a 2016 film starring Lily James and Sam Riley.
Jane Austen fan fiction is the collection of numerous sequels and spin-offs produced by authors who have either used the plot of Austen's original novels, or have extended them, to produce new works of fiction. Austen's posthumous popularity has inspired fan fiction that runs the gamut through numerous genres, but the most concentrated medium has remained the novel. According to Pucci and Thompson in their 2003 survey on the contemporary evolution of Jane Austen's work, at the turn of the 20th century, over one hundred sequels, rewritings, and continuations of her novels had been published.
Lady Catherine de Bourgh is a character in the 1813 novel Pride and Prejudice by Jane Austen. According to Janet Todd, Lady Catherine can be seen as a foil to the novel's protagonist Elizabeth Bennet.
Mr William Collins is a fictional character in the 1813 novel Pride and Prejudice by Jane Austen. He is a distant cousin of Mr Bennet, a clergyman and holder of a valuable living at the Hunsford parsonage near Rosings Park, the estate of his patroness Lady Catherine De Bourgh, in Kent. Since Mr and Mrs Bennet have no sons, Mr Collins is also the heir presumptive to the Bennet family estate of Longbourn in Meryton, Hertfordshire, due to the estate being entailed to heirs male. Mr Collins is first introduced during his visit to Longbourn.
Death Comes to Pemberley is a 2011 historical mystery novel by British writer P.D. James that continues the story of Jane Austen's 1813 novel Pride and Prejudice and adds a murder mystery. In the book, Captain Denny, a minor character from Pride and Prejudice, is murdered at Fitzwilliam Darcy's Pemberley estate, and George Wickham stands trial for murder. A three-part television drama, of the same name, was made by BBC One in 2013.
The Bennet family is a fictional family created by the English novelist Jane Austen in her 1813 novel Pride and Prejudice. The family consists of Mr and Mrs Bennet and their five daughters: Jane, Mary, Catherine, Lydia, and Elizabeth, who is the novel's protagonist.
Death Comes to Pemberley is a three-part British television drama based on the best-selling 2011 P. D. James novel of the same name. Her murder mystery was based on the style and characters of Jane Austen's 1813 novel Pride and Prejudice.
George Wickham is a fictional character created by Jane Austen who appears in her 1813 novel Pride and Prejudice. George Wickham is introduced as a militia officer who has a shared history with Mr. Darcy. Wickham's charming demeanour and his story of being badly treated by Darcy attracts the sympathy of the heroine, Elizabeth Bennet, to the point that she is warned by her aunt not to fall in love and marry him. It is revealed through the course of the story that George Wickham's true nature is that of a manipulative unprincipled layabout, a ne'er-do-well wastrel, compulsive liar and a degenerate, compulsive gambler, a seducer and a libertine, living the lifestyle of a rake. Lacking the finances to pay for his lifestyle, he gambles regularly and cons credit from tradesmen and shopkeepers and skips out on paying-up.
Longbourn is a 2013 novel by the British author Jo Baker. It gives an alternative view of the events in Jane Austen's 1813 novel Pride and Prejudice, telling the story from the perspective of the servants at Longbourn, the Bennet family home. It was published by Doubleday in the UK and by Knopf in the US. It has been translated into twenty-one languages, was shortlisted for the IBW Book Award and is due to be made into a film, adapted by Angela Workman and Jessica Swale and directed by Sharon Maguire.
1 2 Tauchert, Ashley (2003). "Mary Wollstonecraft and Jane Austen: 'Rape' and 'Love' as (Feminist) Social Realism and Romance". Women. 14 (2): 144. doi:10.1080/09574040310107. S2CID170233564.
↑ Schmidt, Katrin (2004). The role of marriage in Jane Austen's 'Pride and Prejudice' (thesis). University of Münster. ISBN9783638849210. compare the different kinds of marriages described in the novel
↑ Bhattacharyya, Jibesh (2005). "A critical analysis of the novel". Jane Austen's Pride and prejudice. New Delhi: Atlantic Publishers & Distributors. p.19. ISBN9788126905492. The irony of the opening sentence is revealed when we find Mrs Bennett needs a single man with a good fortune....for...any one of her five single daughters
↑ Pride and Pejudice. Vol.3 (1813ed.). pp.322–323.
↑ Michie, Elsie B. "Social Distinction in Jane Austen, Pride and Prejudice, 1813, edited by Donald Gray and Mary A. Favret, fourth Norton critical edition (2016). pp. 370–381.
↑ Tanner, Tony (1986). Knowledge and Opinion: Pride and Prejudice. Macmillan Education Ltd. p.124. ISBN978-0333323175.
↑ Austen, Jane (2016). Pride and Prejudice. W.W. Norton & Company Inc. p.7. ISBN978-0-393-26488-3.
↑ Tanner, Tony (1986). Knowledge and Opinion: Pride and Prejudice. Macmillan Education Ltd. p.124. ISBN978-0333323175.
1 2 Miles, Robert (2003). Jane Austen. Writers and Their Work. Tavistock: Northcote House in association with the British Council. ISBN978-0-7463-0876-9.
↑ Baker, Amy. "Caught in the Act Of Greatness: Jane Austen's Characterization Of Elizabeth And Darcy By Sentence Structure In Pride and Prejudice." Explicator 72.3 (2014): 169–178. Academic Search Complete. Web. 16 February 2016.
↑ Fletcher, Angus; Benveniste, Mike (Winter 2013). "A Scientific Justification for Literature: Jane Austen's Free Indirect Style as Ethical Tool". Journal of Narrative Theory. 43 (1): 13. doi:10.1353/jnt.2013.0011. S2CID143290360.
1 2 3 Le Faye, Deidre (2002). Jane Austen: The World of Her Novels. New York: Harry N. Abrams. ISBN978-0-8109-3285-2.
1 2 3 Rogers, Pat, ed. (2006). The Cambridge Edition of the Works of Jane Austen: Pride and Prejudice. Cambridge University Press. ISBN978-0-521-82514-6.
1 2 Irvine, Robert (2005). Jane Austen. London: Routledge.
↑ This theory is defended in "Character and Caricature in Jane Austen" by DW Harding in Critical Essays on Jane Austen (BC Southam Edition, London 1968) and Brian Southam in Southam, B.C. (2001). Jane Austen's literary manuscripts: a study of the novelist's development through the surviving papers (Newed.). London: the Athlone press / Continuum. pp.58–59. ISBN9780826490704.
1 2 3 4 Stafford, Fiona (2004). "Notes on the Text". Pride and Prejudice. Oxford World's Classics (ed. James Kinley). Oxford University Press. ISBN978-0-19-280238-5.
1 2 3 Fergus, Jan (1997). "The professional woman writer". In Copeland, E.; McMaster, J. (eds.). The Cambridge Companion to Jane Austen. Cambridge University Press. ISBN978-0-521-49867-8.
↑ Cossy, Valérie; Saglia, Diego (2005). "Translations". In Todd, Janet (ed.). Jane Austen in Context. Cambridge University Press. ISBN978-0-521-82644-0.
1 2 3 Southam, B.C., ed. (1995). Jane Austen: The Critical Heritage. Vol.1. New York: Routledge. ISBN978-0-415-13456-9.
↑ Gómez-Galisteo, M. Carmen (2018). A Successful Novel Must Be in Want of a Sequel: Second Takes on Classics from The Scarlet Letter to Rebecca. Jefferson, North Carolina: McFarland. ISBN978-1476672823.
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