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Pride & Prejudice () Poster. Sparks fly when spirited Elizabeth Bennet meets single, rich, and proud Mr. Darcy. But Mr. Darcy reluctantly finds himself falling  ‎Full Cast and Crew · ‎Plot Summary · ‎Pride & Prejudice from Pride · ‎Trivia.
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Pride and Prejudice. Explore further Related articles. Jane Austen: social realism and the novel Article by: Kathryn Sutherland Theme: The novel — Jane Austen fills her novels with ordinary people, places and events, in stark contrast to other novels of the time.

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View all related collection items. PDF Download Available. View all related works. He is at home reading a book. When trouble brews and voices are raised, he retreats to his library, where none may enter without his permission. When disaster duly strikes, and Lydia runs off with a notable rake to live in sin somewhere in London, he is powerless. Such an intelligent man should have seen it coming. Dead right. Jane Austen directs our sympathies like a Beijing traffic cop — balletic and graceful, she is also very firm and unambiguous, brooking no argument.

There's really no room for Elizabeth Bennet to be anything other than a feminist heroine, having such a pert wit and lovely eyes, commanding our affections the way she does. However, her relationship with Mr Bennet, so often seen as establishing and ratifying her status as the smartest and most interesting of the daughters, certainly complicates — if not pollutes — her standing as our narrator's ego ideal.

The marriage between the parents is just one union serving as a counterpoint to the love match that all the daughters so ardently, subversively desire. Without his second daughter, he would be alienated. When this is noted — "'Eliza Bennet,' said Miss Bingley, when the door was closed on her, 'is one of those young ladies who seek to recommend themselves to the other sex, by undervaluing their own; and with many men, I dare say, it succeeds. But in my opinion, it is a paltry device, a very mean art'" - the direction of the narrative would have us take this as evidence that Miss Bingley is a bit of a bitch.

But she's also right. To be in her confidence, women have to be incredibly quiet, in other words — this prejudice of hers is much more limiting than her prejudice against Mr Darcy. To be so scornful, it would help if she had excellent judgment, but instead it is poor — she ridicules Jane for her easy assumptions of everyone's goodness, but her own adjudications Wickham good, Darcy bad are erratic and muddled.

She affects an arch carelessness to shore up her already established paternal approval; and yet she does care, so the act of surrender is both cowardly and inauthentic. Her rejection of traits that she perceives as feminine — the reservation of judgment, which she casts as indecisiveness — interferes with her wisdom, rendering it less than it could be. I would never argue that a feminist had to be sisterly, any more than sisterliness does anything for feminism. Nevertheless, it is a tough call to find a feminist icon in a woman who hates her sex to please her father.

Mr Darcy may not be the first depressive to feature in an English novel, but he is almost certainly the first to be a romantic lead. This is a man without shame, whose shamelessness is made worse by the fact that he has intermittent access to good judgment. When he is without it, however, he is a manipulative, hypocritical, self-centred depressive, aware of some of his faults but unapologetic for them — bound by arrogance to ignore them because they are his, and therefore, by his definition, not really faults at all.

Think only of the past as its remembrance gives you pleasure.

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He blames his dead parents for "spoiling" him; he will not see that his character and actions have been for some years his own to shape. He is unhappy about himself, critical even, but is locked in a spiral with thoughts that "cannot, ought not to be repelled". He has, furthermore, no interests; he doesn't do anything. He will lend his fishing rods to Mr Gardiner but doesn't contemplate joining in the sport. In modern therapeutic terms, he needs to understand his own emotions more deeply, get to know himself, take exercise to release endorphins, abandon the protective persona "beneath me" he has adopted and forgive himself for what he is and has been.

There is much to forgive, much "work" to be done, and it is the sadness of the book that we suspect he will never be able to do it. When Elizabeth asks him why he was so silent on his last visit, when all seemed set fair between them, he says he was "embarrassed".

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Even she, all of whose defences are down as she heads for the altar, cannot let this go: "But tell me, what did you come to Netherfield for? It will be hard for her to accept that in her husband the lack of vital energy that underlies depression will always dominate the intermittent bursts of activity, the little upswings that punctuate his melancholy. All that Darcy can do now is marry Elizabeth, his lifelong Prozac in an Empire-line dress: dear, busy, middle-class Lizzy with her wit and common sense, who will be good at sex, kind to his sister and will laugh at his aunt.

It is more, really, than he deserves for his single outburst of politeness and his periodic financial largesse. George was brought up with Fitzwilliam, the heir of Mr Darcy of Pemberley, a spoilt and ill-tempered boy with little regard for the future responsibilities of his privileged life.

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But the Reverend Mr George Wickham's abilities were soon recognised and eventually he rose to a bishopric and was revered as the very model of a Christian gentleman. He married the daughter of a wealthy churchman but money was never important to him. Is Lydia Bennet Jane Austen's most misunderstood character? Seen through the eyes of her sister, Elizabeth, she appears to be a vulgar, lusty hoyden, whose outrageous antics put all her sisters' reputations at risk.

Elizabeth complains: "Our importance, our respectability in the world, must be affected by the wild volatility, the assurance and disdain of all restraint which mark Lydia's character. But is it really so bad that Lydia refuses to conform to the strict and suffocating conventions of female propriety?

She provides a strong contrast to her sanctimonious, humourless sister Mary, who spouts empty platitudes about acceptable female conduct. Lydia is a very modern character, who refuses to bow to the conventions of polite society. She won't comply with the rules. Lydia is boy-mad, but what year-old girl isn't? Stifled by the restrictions of her life in a small, provincial village, she longs for adventure and companionship. Her excitement at the thought of partying at that "gay bathing place, Brighton" places her as a very typical teenager. She dances with the soldiers, enjoys crossdressing a soldier in her aunt's gown, and gossips about a young private being flogged.

Lydia, unlike any other character in Pride and Prejudice , is fully in touch with her sexuality. She enjoys sex before marriage and has very little concern for the consequences. Elizabeth, fully aware of her sister's "animal spirits", knows that she is very capable of living in sin. She has not been seduced or forced by Wickham. She gives herself to the rakish soldier with eyes wide open.

Lydia could be described as a proto-feminist, as she refuses to conform to the protocols of courtship behaviour. She is honest to a fault, and is no victim. Furthermore, unlike the odious Caroline Bingley, she is open and forthright about her romantic interest in men, rather than devious and catty.

Austen despised "pictures of perfection" — heroines who have no flaws.

Lydia bounces off the page in all her glorious, noisy imperfection. Everyone knows this putdown: it's nearly as famous as your witticism about everyone thinking rich men need wives. Typical malice. Yes, malice. How would you describe a person with an adoring sister and admiring father creating a child despised by father and siblings?