Austen's" Pride and Prejudice" and its Romantic Movement

Specifically, aside from her preoccupation with romance, illusory romance, and the ideal goal of marital bliss, Austen seeks to examine with the tool of banter the issues of self-awareness and self-delusion. For example, one of the major elements of the two primary characters of the novel

--Elizabeth Bennett and Mr. Darcy--is their misperception about others, oddly each other. Elizabeth at first considers Darcy an impossible candidate for marriage, belying what give occur, and Darcy believes that Elizabeth is ready to fall any second to his charms, which is precisely the confrontation of the truth. However, at the heart of their misperceptions there remains the Romantic refer for savor and marriage.

In general, the characters in Austen's novel care about little but money, self-image (what others think of them), and marriage. These selfish concerns are alleviate by Austen's sly irony and playfulness:

The stock-stilling was fatigued chiefly in talking over Hertfordshire news, and telling again what had already been written; and when it closed, Elizabeth in the solitude of her chamber had to analyse upon Charlotte's degree of contentment . . . and to ac knowledge that it was all done truly well. She also had to anticipate how her visit would pass, the quiet tenor of their vernacular employments, the vexatious interruptions of Mr. Collins, and the gaieties of their intercourse with Rosings (Austen 104).

Almost every character at any moment could be, or perhaps

Mr. Darcy, who was leaning against the mantle-piece with his eyes fixed on her face, seemed to get her words with no less resentment than surprise. His complexion became grisly with anger, and the disturbance of his mind was visible in every feature. He was struggling for the appearance of composure, and would not open his lips till he believed himself to stomach attained it. The pause was to Elizabeth's feelings dreadful (Austen 124).

[Mary's] performance was pleasing, though by no means capital. . . . Mary, . . . in consequence of creation the besides plain one in the family, worked hard for knowledge and accomplishments. . . .

Mary had neither genius nor taste; and though amour propre had given her application, it had given her likewise a pedantic line and conceited manner (Austen 17).

On one level, much of impressiveness seems to be going on here. Darcy has just expressed his love for Elizabeth, and, although all Elizabeth wants in the world is to be properly married, she has disdain his offer. However, the absurdities of the scene overwhelm any significance it might have had. Yes, Darcy confesses his love, but in such a reluctant and honest insulting way that only a fool would even continue the conversation with him, much less consider genuinely marrying him. Why, then, after spurning his declaration of love, does Elizabeth "dread" the pause? The only liaison she should dread is the fact that she eventually marries him. Of course, the fact that she does marry him is a clear tip of Austen's hat to the Romantic movement and its great allowance for individual idiosyncrasy.

should be, balancing a fine teacupful on his or her knee. The reader at times feels that the only thing at risk is one of those teacups tumbling to the fuze at the news that, perhaps, "the pigs were got into the garden" (Austen 104). It might be suggested that Austen is satirizing these self-obsessed, cultivated people and their selfish, limited, materialistic concerns. However, unlike the more harsh
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