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192Jane Austenselves. This drama of self-knowledge is played out in the context ofa symbolism based on the antithesis between “art” and “nature,” inthe comprehensive eighteenth-century sense of those terms. It is alsoreferred, at many points, to the fiction of Jane Austen’s day—particularlyto her fellow-novelists’ handling of the figure that I have calledthe patrician hero. Jane Austen’s first response to the patrician hero,I believe, was purely satiric. Later, I think, she refined, revised, andgreatly complicated her treatment of him. At any rate, Pride andPrejudice is something more than a much-improved imitation ofthe novels Jane Austen knew. It is a work in which she tumbles aneighteenth-century authority-figure from the pedestal on whichRichardson and Fanny Burney had placed him—and, with a gesturethat distinguishes her also from some later novelists, then stoops toretrieve him from the dust.Notes1. The most detailed study of Pride and Prejudice in terms of the“art-nature” dichotomy is Samuel Kliger’s “Jane Austen’s Prideand Prejudice in the Eighteenth-Century Mode,” UTQ, XVI(1947), 357–370.2. See, for example, the comments in Mary Lascelles’s JaneAusten and Her Art (Oxford, 1939), pp. 22 and 162, and MarvinMudrick’s complaints about the change in Darcy in his JaneAusten: Irony as Defense and Discovery (Princeton, 1952), pp.117–119.3. See Brower’s The Fields of Light (New York, OxfordUniversity Press, 1951), pp. 164–181, and Babb’s Jane Austen’sNovels: The Fabric of Dialogue (Columbus, Ohio, 1962), pp.115–118.4. Jane Austen, Works, ed. R.W. Chapman (London, 1954), VI, 13.All references will be to this edition.5. As E.E. Duncan-Jones points out in “Notes on Jane Austen,”N & Q, 196 (1951), 114–116. Numbers of heroes in the minorfiction of the period, however, among them Lord C— in TheHistory of Sir William Harrington and Mr. Charlemont in TheLake of Killarney, are similarly described.
Pride and Prejudice 1936. In “A Critical Theory of Jane Austen’s Writings,” Part I,Scrutiny, 10 (1941–42), 61–87, Mrs. Leavis recognizes thesimilarity between the two scenes.7. Of course, as Brower (Fields of Light, pp. 168–169) points out,we see this scene largely through the eyes of the prejudicedElizabeth Bennet. Darcy is actually eager to dance withElizabeth, although his manner of expressing himself is notvery gallant.
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Bloom's Literary ThemesfAlienationD
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Bloom’s Literary Themes: The Hero
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viContentsGo Tell It on the Mountai
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, Series Introduction by Harold Blo
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Series Introduction by Harold Bloom
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xivVolume Introduction by Harold Bl
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VirgilT.R. Glover argues that what
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VirgilBut perhaps the most incongru
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Virgilindividual may accept it with
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VirgilHorace. 23 Probably Virgil sh
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10Virgil(A. i. 488). It will hardly
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Alice's Adventures in Wonderland 13
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Beowulf,.“Beowulf ”by W. P. Ker
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Beowulf 27nothing beyond it, in tha
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Beowulf 29the practice of Beowulf i
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Beowulf 31important subject-matter;
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Beowulf 33that the main story is re
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Beowulf 35is matter of history that
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Beowulf 37The character and persona
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David Copperf ield(Charles Dickens)
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David Copperfield 41another version
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David Copperfield 43with abilities
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David Copperfield 45‘dearest girl
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David Copperfield 47She would marry
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David Copperfield 49‘domestic joy
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52Miguel de Cervantesromances of ch
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54Miguel de Cervantessaying, ‘it
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56Miguel de CervantesA wonderful th
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58Miguel de Cervantesdanger of bein
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60Miguel de Cervantesof those who c
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62Miguel de CervantesSome of them,
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64The Epic of Gilgameshtraditional
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66The Epic of Gilgameshuntil I kill
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68The Epic of GilgameshHumbaba. Rem
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70The Epic of Gilgamesh“Match”
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72The Epic of Gilgameshhis immortal
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74The Epic of GilgameshMason, Herbe
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76James BaldwinThe best of Baldwin
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78James Baldwingeneration, born rou
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80James BaldwinThe Negro child, rej
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82James Baldwincould only come from
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Jane Eyre(Charlotte Brontë),.“Ja
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Jane Eyre 87Jane Eyre is a Bildungs
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Jane Eyre 89narrow-minded in their
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Jane Eyre 91tant pattern that will
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Jane Eyre 93ends, they have been ma
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Julius Caesar(William Shakespeare),
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Julius Caesar 97a loyal Roman who d
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Julius Caesar 99Brutus now orders h
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Julius Caesar 101the relationship b
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Julius Caesar 103Like Sophocles’s
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Julius Caesar 105tion in purely aes
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108J.R.R. TolkienOne function of my
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110J.R.R. Tolkiena very uncomfortab
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112J.R.R. Tolkienits sheath, tighte
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114J.R.R. Tolkien“Thank goodness,
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116J.R.R. TolkienHowever, by the ti
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118J.R.R. Tolkienin which the defen
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120J.R.R. Tolkienelsewhere of “Go
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A Man for All Seasons(Robert Bolt),
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A Man for All Seasons 125and his co
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A Man for All Seasons 127he rises f
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A Man for All Seasons 129Like water
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Middlemarch(George Eliot),.“Middl
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Middlemarch 133imaginative concerns
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Middlemarch 135Ladislaw, he says:
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Middlemarch 137But what if Dorothea
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Middlemarch 139A new Theresa will h
Page 156 and 157: 142Herman Melvilleentrust his deare
Page 158 and 159: 144Herman Melvillecomes at last to
Page 160 and 161: 146Herman Melvillehis defiance. “
Page 162 and 163: 148Herman MelvilleI am cold myself
Page 164 and 165: 150Herman Melvillesheer strength of
Page 166 and 167: 152Herman Melville“If any of thos
Page 168 and 169: 154Herman Melvillerestored. He is i
Page 171 and 172: The Odyssey(Homer),.“The Man of M
Page 173 and 174: The Odyssey 159Through all the “c
Page 175 and 176: The Odyssey 161sense men get exactl
Page 177 and 178: The Odyssey 163that Ithaca affords
Page 179 and 180: The Odyssey 165Ogygia is joyful for
Page 181 and 182: A Portrait of the Artistas a Young
Page 183 and 184: A Portrait of the Artist as a Young
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Page 198 and 199: 184Jane Austenthe novel, only to ju
Page 200 and 201: 186Jane AustenBut the beauties of C
Page 202 and 203: 188Jane AustenOn two occasions, I b
Page 204 and 205: 190Jane Austenas well as because of
Page 209 and 210: Sir Gawain and the Green Knight,.
Page 211 and 212: Sir Gawain and the Green Knight 197
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Page 222 and 223: 208Harper Leeadding that society ne
Page 224 and 225: 210Harper Leebeing, and he will not
Page 226 and 227: 212Harper LeeThat Atticus clearly d
Page 229 and 230: The Woman Warrior: Memoirs of aGirl
Page 231 and 232: The Woman Warrior: Memoirs of a Gir
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Page 240 and 241: 226Eudora Weltymotif: the protagoni
Page 242 and 243: 228Eudora Weltyher head) and househ
Page 244 and 245: 230Eudora Weltywill do nothing to i
Page 246 and 247: 232Eudora WeltyHeilbrun, Carolyn G.
Page 248 and 249: 234AcknowledgmentsSedgwick, William
Page 250 and 251: 236Indexplot of, 32stories of old t
Page 252 and 253: 238IndexHartsock, Mildred, 96, 104H
Page 254 and 255: 240IndexMoby-Dick (Melville), xiv,
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242IndexTTempest, The (Shakespeare)
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