"Pride and Prejudice in Pride and Prejudice" by Everett Zimmerman

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70 Nineteenth-Century Fiction As the plot develops, avoiding clashes, judgments, and resolu- tions becomes more and more difficult. Near the end of Book I1 the theme of the Netherfield conversation reappears, but the movement of the conversation is quite changed. There is a dis- cernible direction to it, and it leads to a formulation (225- 226). Elizabeth is telling Jane of her changed opinions of Wick- ham and Darcy. She comments ironically on Jane's characteristic attempts to excuse both, and on her own treatment of Darcy: And yet I meant to be uncommonly clever in taking so decided a dislike to him, without any reason. It is such a spur to one's genius, such an opening for wit to have a dislike of that kind. One may be contin- ually abusive without saying anything just; but one cannot be always laughing at a man without now and then stumbling on something witty (226). She recognizes here that she has laughed at what is good, despite what she had previously said to Darcy; however, the recognition is detached, shorn of any visible feeling. But when Jane asks specifically about her feelings when she received Darcy's letter, Elizabeth replies, "I was uncomfortable enough. I was very uncomfortable" (226). And instead of retreating from the moral evaluation toward which the conversation tends, she states it di- rectly: "But the misfortune of speaking with bitterness, is a most natural consequence of the prejudices I had been encouraging" (226). The conversation probes for and finds an attitude; it does not, like the earlier ones, kaleidoscopically shift all attitudes. Jane Austen's technique is functional: it suggests both the complexity of Elizabeth's world and her inner moral development. The reductions of pride and prejudice always cause grief, and Elizabeth learns to recognize and overcome the limitations of human vision which threaten her happiness. Early in the book her attitude is frequently the ironic one characteristic of her father. She shares his appreciation of Mr. Collins' absurdity; Sir Wil- liam Lucas's servile behavior to Lady Catherine is "high diver- sion" to her (159); and her division of characters into simple and complex onesg reveals a detached attitude toward human beings and an avoidance of any moral judgment. In her reactions toward Darcy, she resembles her mother. Darcy's harsh, although justified, comments on the Bennet family inflame Elizabeth's preju- See Mudrick's analysis of this division,pp. 94-95.
Pride and Prejudice 7 1 dices in favor of her family and against Darcy. Eventually, however, she learns to judge accurately while deeply involved; she learns to avoid the limitations imposed by pride and prejudice. The narrative techniques not only mirror the world of the novel, but also involve the responsive reader in that world, forcing him to adopt, while reading, that degree of flexibility, that withholding of judgment when evidence is lacking, which Elizabeth must adopt. However, while the rapidly shifting point of view and attitude, and the perplexing narration characteristic of the earlier parts of the book are describing, creating, and, in a sense, miming Eliza- beth's difficulties in that part of the book, the reader is not aban- doned to her point of view. The obvious moral failings of those static characters who surround Elizabeth and Darcy alert the reader to Elizabeth's failings. Although frequently the reader's vision cannot extend beyond Elizabeth's, and he cannot resolve the difficulties of her situation, he can recognize the distortions which occur when Elizabeth attempts to resolve these difficulties by adopting the limited point of view characteristic of pride and prejudice.lO Later in the book as Elizabeth's irresponsible attitudes break down, dialogue becomes less frequent but more decisive; authorial summary becomes more frequent and reliable; the shifting of tonal qualities becomes less rapid; and Elizabeth's moral attitude emerges with clarity. This emerging attitude, however, is one that is based on a recognition of the complexity and deceptive- ness of the world. Elizabeth's attachment to Darcy results from the clarification of her vision, not from the modification of her values; consequently, the view that the novel suggests a blending of two con- trasting value systems, two extremes searching for a middle, must be rejected.ll Early in the book Elizabeth is >haracterized as a woman of sensibility (in the late eighteenth-century sense) and l0As is implied throughout this discussion, the early dialogues of the novel do not appear to me to be so decisive as Howard Babb's meticulous analysis in Jane Austen's Novels: The Fabric of Dialogue (Columbus, Ohio, 1962), pp. 113-114, suggests they are. The ambiguity early in the book is purposive; it reveals the complexity of Elizabeth's world. llFor example, Samuel Kliger's "Jane Austen's Pride and Prejudice in the Eighteenth-Century Mode," U T Q , XVI (July, 1947), 357-370, deals with Darcy and Elizabeth as exemplifying the opposition of art and nature. As I suggest below, however, this antithesis is only apparent-Darcy and Elizabeth share the same value system. Elizabeth's opposition to Darcy is based on her misunderstanding of him.
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"Pride and Prejudice in Pride and Prejudice" by Everett Zimmerman

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