The assignment over the holiday is to read Jane Austen’s Pride and Prejudice (Penguin Classics, ISBN 14-143951-8). Besides
the information on the Study Guide beginning on the next page, here is the specific information about which chapters to
annotate; it might be helpful for you to circle the chapter numbers before you begin reading. For the assigned chapters, the
minimum annotation is to make two meaningful notes per page:
one note about content: what is written; e.g. character, theme, plot.
one on form: how it is written; e.g. figurative language, allusion, style, diction, narrative structure, metalinguistic
references.
Remember that merely labeling (writing a word in the margin like “allusion” or “theme”) and merely underlining or
highlighting does not count as annotation.
Also, there are a few other things I would like you to know before we head into the second semester:
After surveying your writing done this semester, I highly suggest that you re-read a couple of essential parts of
the Guidebook before we resume class in January: the Guide to Writing About Literature (25-26), the Guide to
Writing Well (27-36--this includes Sentence Composing, which many of you need to work on), and the Guide to
Using Quotations (37-38).
Consider looking for 3 poems you might consider for next semester's HS English Department’s Poetry
Recitation 2013; our class round of recitations will be at the end of February. See Pfeifferopolis (on the main IB Lit
G11 page) for the information about this HS event, along with the guidelines for poem selection, and the list of
poets.
Finally, you might want to know that we will have a quiz on page 15 of the Literary Terms on 30-31 January.
IB Literature I—Pfeiffer
JANE AUSTEN’S PRIDE AND PREJUDICE (1813)
Background & Study Guide for Volume 1
How to Study this Novel: This packet contains essential background information and my Study Guide for Volume 1 (chapters 1-23).
Begin by starting the novel, read the first two pieces to help you understand the historical and cultural context in which Austen wrote. Then
read Volume 1 of the novel. [See the Vacation Assignment on Pfeifferopolis for the specific chapters you will be annotating; you do
not have to annotate the whole novel.] After reading Volume 1, read the information in this packet about Austen’s style and the novel’s
geography—it’s important that you have that information in mind. Go to Pfeifferopolois for the Study Guides to Volumes 2 & 3 of the novel;
print them out and have them in front of you as you read the remainder of the novel.
"England in Austen's Time," Fay Weldon [from Letters to Alice on First Reading Jane Austen, 1984; second edition 1999]
In the form of a letter to her niece Alice, British novelist Fay Weldon explains the discrepancy between the harsh society in which Jane Austen
lived and the gentler society she portrays in her novels. According to Weldon, women in the late eighteenth century lacked basic rights and
endured all kinds of dangers and duties. Conceding that the real life of women in Austen's time must seem unbelievable to a modern English
girl like Alice, Weldon suggests that Austen may simply have created an idyllic fictional world as an alternative to the unpleasantness she
nevertheless took for granted in the real world. Novels, Weldon reminds her niece, are inventions of the imagination, not records of history.
M
y dear Alice,
...I do believe it is the battle the writer wages with the real world which provides the energy for invention. I think Jane
Austen waged a particularly fearful battle, and that the world won in the end and killed her: and we are left with the seven
great novels. I know you've been told six. But she did write another, Lady Susan, a diverting, energetic and excellent novel, when she
was very young, at about the same time as she wrote the comparatively tedious and conventional Sense and Sensibility (please don't
read it first). She put Lady Susan in a drawer. She did not attempt to have it published; nor, later, did her family. My own feeling is that
they simply did not like it. They thought it unedifying and foolish, and that wicked adventuresses should not be heroines, and
women writers should not invent, but only describe what they know. They had, in fact, a quite ordinary and perfectly
understandable desire to keep Jane Austen respectable, ladylike and unalarming, and Lady Susan was none of these things....
You must understand, I think, the world into which Jane Austen was born. I do not think the life or personality of writers to be
particularly pertinent to their work.... But I do think the times in which writers live are important. The writer must write out of a
tradition—if only to break away from it... He, or she, writes out of a society: links the past of that society with its future....
Jane Austen concerned herself with what to us are observable truths, because we agree with them. They were not so
observable at the time. [In reading Pride and Prejudice] we believe with her that Elizabeth should marry for love, and that Charlotte
was extremely lucky to find happiness with Mr. Collins, whom she married so as not, in a phrase dating from that time, to be left on
"the shelve." [Austen] believed it was better not to marry at all, than to marry without love. Such notions were quite new at the
time. It surprises us that in her writing she appears to fail to take the pleasures of sex into account, but that was the convention at
the time: we disapprove, where her society most approves. She is not a gentle writer. Do not be misled: she is not ignorant, merely
discreet: not innocent, merely graceful. She lived in a society which assumed—as ours does—that its values were right. It had God
on its side, and God had ordained the ranks of His people; moreover, He had made men men and women women, and how could a
thing like that be changed? It is idle to complain that Jane Austen lacked a crusading zeal. With hindsight, it is easy to look at the
world she lived in, and say she should have. What she did seems to me more valuable. She struggled to perceive and describe the
flow of beliefs that typified her time, and more, to suggest for the first time that the personal, the emotional, is in fact the
moral—nowadays, of course, for good or bad, we argue that it is political. She left a legacy for the future to build upon.
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was the speed of the fastest horse, and where, even so, letters could be posted in London one evening and be delivered in
Hereford the next morning. Because people were so poor—most people—they would run, and toil, and sweat all day and all night
to save themselves and their children from starvation. Rather like India is today. If you were a child and your parents died, you lived
on the streets: if you were a young woman and gave birth out of wedlock you would, like as not, spend the rest of your life in a
lunatic asylum, classified as a moral imbecile. If you tried to commit suicide to save yourself from such a life, you would be saved,
and then hanged. (These last two "ifs," incidentally, applied as recently as fifty years ago.) If you stole anything worth more than £5
you could be hanged, or transported to a penal colony for life. If it was under £5 there were long, harsh prison sentences in
unspeakable prisons, and the age of criminal liability was seven. No casual vandals or graffiti writers then.
Child, you don't know how lucky you are. If you cheat on The Underground they give you a psychiatrist. If you break a leg,
there's someone to mend it. If you have a cold in the nose, you use a tissue and flush it down the W.C.: Jane Austen used a pocket
handkerchief, and had a maid to boil it clean. Fair enough, if you're Jane Austen, but supposing you were the maid? You would be
working eighteen hours a day or so, six-and-a-half days a week, with one day off a month, and thinking yourself lucky.
MARRIAGE AS AN OPTION
Or you could marry.
The trouble was that you had to be able to afford to marry. You were expected to have a dowry, provided by your parents or
saved by yourself, to give to your husband to offset your keep. For this great reason, and a variety of others, only thirty per cent of
women married. Seventy per cent remained unmarried. It was no use waiting for your parents to die so that you could inherit
their mansion, or cottage, or hovel, and so buy yourself a husband—your parents' property went to your brothers. Women
inherited only through their husbands, and only thus could gain access to property. Women were born poor, and stayed poor, and
lived well only by their husbands' favour. The sense of sexual sin ran high: the fear of pregnancy was great—you might well estimate
that half the nation's women remained virgins all their lives....
So to marry was a great prize. It was a woman's aim. No wonder Jane Austen's heroines were so absorbed by the matter. It is
the stuff of our women's magazines but it was the stuff of their life, their very existence. No wonder Mrs. Bennet, driven half-mad
by anxiety for her five unmarried daughters, knowing they would be unprovided for when her husband died, as indeed would she,
made a fool of herself in public, husband-hunting on her girls' behalf. Politeness warred, as always, with desperation. Enough to give
anyone the vapours!
Women survived, in Jane Austen's day, by pleasing and charming if they were in the middle classes, and by having a good, strong
working back if they were of the peasantry. Writing was, incidentally, one of the very few occupations by which impoverished and
helpless female members of the gentry could respectably—well, more or less—earn money. To be a governess was another, much
fabled, occupation. Beautiful and talented governess, handsome scion of ancient housing, marrying where he loved and not where
he ought.... It was a lovely, if desperate, fantasy. (See Elizabeth and Darcy in Pride and Prejudice.)
The average age of puberty, incidentally, was later in their day than it is now. In 1750 we know it to have been between eighteen
and twenty. General malnutrition and low female body weights were no doubt the cause. Marriage was later, too: on average
between twenty-five and twenty-eight, though Jane Austen's heroines seem to have started panicking in their early twenties. Lydia,
in Pride and Prejudice, managed it at the age of sixteen, and shocked everyone by revealing everyone's true feelings—trailing her
hand with its new wedding-ring out of the carriage window as she rode triumphantly into town, so that everyone would know.
Married! Jane Austen herself put on her cap when she was thirty. That is, she announced herself by her dress as out of the
marriage market, now resigned to growing old with as much grace and dignity as she could muster. Thirty!
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WOMEN LACKED RIGHTS
Once you were married, of course, life was not rosy. Any property you did acquire belonged to your husband. The children were
his, not yours. If the choice at childbirth was between the mother or child, the mother was the one to go. You could not sue, in
your own name. (By the same token at least you could not be sued.) He could beat you, if he saw fit, and punish your children
likewise. You could be divorced for adultery, but not divorce him for the same offence. Mind you, divorce was not a way out of
marital problems. Marriage was forever. Between 1650 and 1850 there were only 250 divorces in England.
You put up with the sex life you had, and were not, on the whole, and in the ordinary ranks of society, expected to enjoy it. It
tended to result, for one thing, in childbirth. Contraception was both wicked and illegal, against God's law and the land's.
Abstinence was the decent person's protection against pregnancy. There were, of course, then as now, libidinous sections of
society, the wild young of the upper classes, and free thinkers, who saw sexual freedom as the path to political liberty: and, of
course, there were married couples who did find a real and sensual satisfaction in each other—but this was a bonus, not
something to be taken for granted: certainly nothing you could go to a Marriage Counsellor about.
The fact that there were 70,000 prostitutes in London in 1801, out of a female population of some 475,000, indicates that your
husband at least would not be virginal on marriage. He would quite possibly be diseased. Venereal disease was common, and often
nastily fatal.
Alice, by your standards, it was a horrible time to be alive. Yet you could read and read Jane Austen and never know it. And why
should you? Novelists provide an escape from reality: they take you to the City of Invention. When you return you know more
about yourself. You do not read novels for information, but for enlightenment. I don't suppose Jane Austen thought particularly
much about the ills of her society. All this, for her, was simply what the world was like....
Your own chances of dying in childbirth were not negligible and increased with every pregnancy. After fifteen pregnancies (which
meant something like six babies brought to term and safely delivered) your chances of dying were (Marie Stopes later claimed)
one in two....
Back to you, Alice, mother of six, aged thirty, with your backache and your varicose veins and your few teeth, carrying water
from the village well for all your family's needs, and water is about as heavy a soul's task as you can get, and you have to choose if
they're going to be clean or you're going to be ill....
So you must understand there were compensations to be found in virginity, in abstinence, in fidelity, and in spinsterhood, which
are not found today, and read Jane Austen bearing this in mind.
There were more positive compensations for living in this terrible time. The countryside must have been very, very pretty. The
hedgerows and blasted oaks had not been rooted out by agro-industrialists, and wild flowers and butterflies flourished to brighten
the gentle greyish greens of the landscape. These days the greens are brighter and the fields are smoother, thanks to insecticides,
nitrates and herbicides. And everything you looked at would have been lovely: furniture (if you had any) made of seasoned oak, and
by craftsmen working out of a tradition unequalled anywhere in the world—usefulness working in the service of grace. New and
different buildings going up everywhere, as the population grew and the middle classes with it....
4
Perhaps landscape, buildings and objects had to be beautiful to compensate for the ugliness of the people. Malnutrition,
ignorance and disease ensured a hopping, shuffling, peering, scrofulous [having TB, tuberculosis] population, running short of eyes
and limbs. Crutches, peg-legs, glass-eyes and hooks were much in demand. If the children had pink cheeks it was because they had
T.B. Do not be deceived by the vision of Georgian England as a rural idyll. Artists of the time liked to depict it as such, naturally
enough . . . and so did writers, and while you are reading Jane Austen you are perfectly entitled to suspend your disbelief, as she
was when she wrote. Fiction, thank God, is not and need not be reality. The real world presses forcibly enough into the imaginative
adventure that is our life, without fiction aiding and abetting.
Why, you ask? Better nutrition, a new understanding of hygiene, the aftermath of the French Revolution, the loosening of the
stranglehold of the Church, more novels and better novels read by more people in the opinion-forming ranks of society, better
poetry—not wide-sweeping social changes, waves in the body politic but the sharp focusing power of individuals....
Any theory will do until the next one replaces it. Being a writer, I like the better-novels theory, which I hereby give you. If the
outer world is a mere reflection of the inner one, if as you refine the person so the outer aspects of the world are refined, so will
social change work from the inside out, from the individual out into the wider community. Enlighten people, and you enlighten
society. How's that? That is enough for now....
With love, Aunt Fay
Jane Austen was a country parson's daughter who lived most of her life in a tiny English village. She began writing her first novel,
Sense and Sensibility, when she was still in her late teens. When she wrote the original version of her second and most famous
novel, Pride and Prejudice (originally entitled First Impressions), she was not yet twenty-one. At that time she had never been away
from home, except for a few years at a girls' boarding school before the age of ten. And yet, although she had seen almost nothing
of the world beyond Steventon, the town where she grew up, she was able to write a witty, worldly novel of love, money, and
marriage.
Jane Austen's world seems very narrow to us today. The year she was born, 1775, was an important one in English as well as
American history, but to the people of the little village of Steventon, the American Revolution was something very far away that
hardly touched their lives at all. Years later while Austen was writing her novels, England was involved in the Napoleonic Wars,
but you won't find much mention of them in her work. One reason these wars did not affect the English at home very much was
that they were fought entirely on foreign soil or at sea, and they did not involved very large numbers of Englishmen. (Two of Jane
Austen's brothers did see combat as naval officers and both reached the rank of admiral, and a naval officer who did well in the
wars is one of her most attractive heroes in her last novel, Persuasion.) Another reason is that—without television, radio,
telephones, automobiles, or even railroads— news traveled slowly.
People traveled very little, and when they did it was on foot, by public coach, or—if they could afford it—by private carriage.
In the evenings they sat together around the fire, mother and girls mending or embroidering by candlelight and often someone
reading aloud. For entertainment, they might visit a neighbor or go to a dance in the village public hall. At these so-called
assemblies, young people were chaperoned by mothers and aunts, and only the most correct behavior was tolerated. If there was a
large estate in the neighborhood, the squire or lord of the manor would give evening parties and occasionally a ball, to which his
lady would invite the leading families of the countryside.
Jane Austen wrote Pride and Prejudice in the family sitting room while her six brothers and a sister, her father’s pupils, and
visiting neighbors swirled around her. She would cover her manuscript with a blotter during interruptions and take up her pen
again when the room was quiet. All the while, she was watching, listening, and thinking about the world around her. The novel
reflects her understanding of and active involvement with ordinary people
The plot of Pride and Prejudice is based on the concerns of people in early nineteenth-century country society. One of these
concerns is money. Austen could observe the money problems of a middle-class family right in her own home. As a clergyman of
the Church of England, her father was an educated man and a gentleman. But his parish consisted of only about three hundred
people, and his income didn’t provide well for his family, so he had to take in students in addition to his church duties. Even so, he
5
could send only one son, the oldest, to Oxford University, and he couldn’t give his daughters attractive dowries or an income if
they remained unmarried.
Like other young women of their social class, Jane and her sister Cassandra were educated, mostly at home, in the "ladylike"
subjects of music, drawing and painting, needlework, and social behavior. Thanks to her father and her own literary tastes, Jane was
also very well read. Tall and graceful, with dark hair and beautiful hazel eyes, she enjoyed parties, liked to dance, and had numerous
suitors. As it turned out, however, neither Jane nor her sister Cassandra ever married. After their father died in 1805, they and
their mother were cared for by a brother who—because of the Austen family’s poor financial situation—had been adopted by a
wealthy childless couple and had inherited a sizable estate. (Such financial adoptions were a fairly common custom of the time.)
Such realities of middle-class life are central to Pride and Prejudice. Critics of a hundred or so years ago called Jane Austen
"vulgar" and "mercenary," because she writes so frankly about money. One of the first things we learn about her characters, for
example, is how much income they have. Her critics considered it bad taste to talk about money, either one’s own or someone
else’s.
But in the middle class of Jane Austen’s time, the amount of your income could be a matter of life and death. What is more, it
was not money you worked for and earned that mattered, but money you were born to or inherited. People who worked—
businessmen, manufacturers, and even some professional people, such as lawyers—were not accepted as members of the "gentry."
They were "in trade," and the gentry looked down on them.
While Austen was writing in the beginning of the nineteenth century, a great change was coming over England. The industrial
revolution was reaching its height in the first half of that century, and a new middle class of prosperous factory owners was
developing. Yet in the midst of this change, one ancient English tradition still survived, and that was that the true gentry were not
the newly rich in the cities but those who lived on their inherited estates. The new middle class, who had become rich "in trade,"
were therefore buying manor houses and estates in the country, and setting up their heirs as members of the landed aristocracy.
In Pride and Prejudice the two leading male characters represent this social change. Mr. Darcy's aristocratic family goes back
for generations, and he draws his income from his vast estate of tenant farms. His friend Mr. Bingley, however, is heir to a fortune
made "in trade" and is looking for a suitable country estate to establish himself in the upper class.
Notice how different characters in the novel react to these social distinctions. Jane Austen herself, through her heroine
Elizabeth, expresses her contempt for snobbery. You’ll find that she pokes fun at the snobs and makes them her most comical
characters.
Still, there was a very serious side to all this, and that was the situation of young women. In our time, women have many
other choices in addition to marriage. In Jane Austen’s time it wasn’t so. A young woman of her class depended for her happiness,
her health, in fact the whole shape of her life, on her making a good marriage. If her husband was poor or a gambler or a drunkard,
she and her children could suffer genuine privation. A girl with no fortune of her own often could not attract a husband. Then she
might have to become a governess, living in other people’s houses, looking after their children and subject to their whims.
The necessity of making a good marriage is one of the major themes of Pride and Prejudice, but that doesn’t mean the novel is
old fashioned. In fact, you may find that you can make a good argument for calling Jane Austen a feminist and her novel a feminist
novel. It’s a serious novel in many ways, but also a very funny one.
Jane Austen began writing novels simply to entertain herself and her family, with no idea of having her stories published. In
her time, novels weren’t considered a respectable form of literature, rather the way murder mysteries and Gothic romances are
looked down on by intellectuals in our own time. In Austen’s time, ministers preached and social critics thundered against the habit
of reading novels. Meanwhile, hundreds of novels were being published—most of them trashy romances or wildly exaggerated
adventure tales—and people went right on reading them.
Most of these novels, including some of the better ones, were written by women. Writing was one of the few possible
occupations for an intelligent, educated woman. Women could write at home while fulfilling their traditional role of running a
household and bringing up children. They could stay out of the public eye, hiding behind an assumed name. When Jane Austen’s
books were finally published, thanks to her brother Henry who acted as her agent, the title page just said "By a Lady. " Her novels
were read by a small, exclusive audience during her lifetime. She lived a quiet life and never yearned for celebrity.
Austen was working on her sixth and last novel, Persuasion, when Henry fell ill and she moved to London to nurse him. Soon
afterward, her own health began to fail. With Cassandra as her nurse and companion, she moved to Winchester to be treated by a
famous surgeon there. He apparently could not help her, and on July 18, 1817, she died, just five months short of her forty-second
birthday.
Judging from her letters, which radiate good humor and laugh off minor misfortunes, Jane Austen’s life, although short, was a
busy and contented one. If the lively, witty Elizabeth Bennet in Pride and Prejudice was modeled on any living person, the model
must have been Jane Austen herself.
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JANE AUSTEN’S STYLE: Irony, Syntax, Aphorism
TONE—IRONY
Jane Austen is known for her humorous use of irony because she uses so many different kinds and uses them so skillfully. In
the broadest sense, irony is the recognition of the difference between reality (what is) and appearance (what seems to be). I
will review the different kinds of irony then give some examples from the novel.
Verbal Irony: A form of speaking in which one meaning is said and a different, usually opposite meaning is intended. All of
us speak ironically at times. If you say, "Nice weather, huh?!" when the temperature is in the upper 30s, you have probably
indicated what you really meant by the expression on your face and by your tone of voice. In speech, tone of voice makes
ironic intent obvious, but a writer has to show irony in a less obvious way, so sometimes it is hard for the reader to
recognize. These days sarcasm is the most common verbal irony; it is harsh and heavy-handed, rather than clever. Austen is
much more subtle and clever in her irony.
There are different kinds of verbal irony, such as overstatement (hyperbole; obvious exaggeration), understatement (litotes;
affirming something by stating the negative of its opposite: Saying, "She is no fool," instead of "She is intelligent."), and negative
description ("X was not Y").
See the end of this sheet for a response I wrote to show past students a model of a written response on tone.
Elizabeth says, "Mr. Darcy is all politeness," but she doesn't believe he is polite at all. (27)
After Darcy says, “...it has been the study of my life to avoid those weaknesses which often expose a
strong understanding to ridicule,“ Elizabeth responds, "Such as vanity and pride.” (56) She is being
ironic because this is precisely what she thinks he is: vain and prideful.
At the Netherfield ball, when Mary won't stop playing the piano for everyone, thinking they love
hearing her play (when they wish she would stop), Mr. Bennet tells her, "That will do extremely well
child.You have delighted us long enough." (98)
Austen also uses ironic contradictions between a speaker and the narrator, or between speech and situation.
Miss Bingley and Mrs. Hurst "indulged their mirth for some time at the expense of their dear friend's
vulgar relations." (37) The Bingley sisters cannot believe Jane is a dear friend if they mock her family.
When Miss Bingley asks Elizabeth what they should do after Darcy reveals their true reason for
walking in front of him, Elizabeth replies, “Tease him--laugh at him--Intimate as you are, you must know
how it is to be done.” (55) Of course, Caroline is anything but intimate with Darcy.
Situational Irony: The contrast between what is intended or expected and what actually occurs. One glaring example
from the first part of the novel: because Miss Bingley constantly criticizes Elizabeth in front of him and brings up her family's
lack of status and propriety, she expects Darcy to dislike Elizabeth. Instead, her comments have no negative effect on him. A
form of situational irony, called dramatic irony, involves the audience's being aware of a character's real situation before the
character is.
We know that Darcy is falling in love with Elizabeth, but she thinks he dislikes her.
We know that Mr. Bennet is mocking Mr. Collins when he asks him, "May I ask whether these pleasing
attentions proceed from the impulse of the moment, or are the result of previous study?" (67)
In general, the key to understanding any kind of irony is to see where there is a gap or mismatch or difference between these things:
appearance reality
apparent meaning real meaning
apparent situation real situation
what is intended what is actually done
what is thought to be true what is true
what is expected what actually happens
how a person sees him/herself how others see him/her
impression a person gives of him/herself person's real nature
pretense actuality
perceived reason or motive real reason or motive
character's limited understanding reader's more complete understanding
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Irony in Pride and Prejudice [I wrote this for a Pride and Prejudice course that I taught in Osaka to model how to write a
response on tone]
Like many of Austen's other novels, irony is used in Pride and Prejudice as the lens through which society and human
nature are viewed. The point of view is the third person, the objective view of an external observer. However, sometimes
this third-person point of view shifts to explore the thoughts and feelings of a character, and so becomes a third person
omniscient narrator. In the first line of the novel ("It is a truth universally acknowledged, that a man in possession of a good
fortune must be in want of a wife") seems to be the voice of certain characters and is filled with irony: rather, it is a woman
who is in want of a husband of a good fortune, not the other way around; the truth being expressed, isn't truth for everyone,
only those pursuing rich men; and in the novel we will see that not all rich men are searching for wives. The narrator also
becomes omniscient when we go into Darcy's mind and see that he slips little by little in love with Elizabeth, as in this line:
"Her resistance [to dance with him] had not injured her with the gentleman, and he was thinking of her with some
complacency" [in this context the word seems to mean "state of being pleased, tranquil pleasure in someone"] (25). Later in
the novel we go into Elizabeth's mind as she considers her own behavior and the behavior of others. The narrator seems to
be Austen as she shows a sharp, critical eye that observes and comments on her society's follies and foibles, making us aware
and making us laugh.
In the novel, Austen studies social relationships in the limited society of a country neighborhood and investigates
them in detail often with an ironic and humorous eye. An early example is in chapter one, with Mr. and Mrs. Bennet. Their
contrasting temperaments are shown through their manner of conversation; Mrs. Bennet chatters on while Mr. Bennet
counters her talk with mildly sarcastic statements, a mocking tone Mrs. Bennet completely misses: "You want to tell me, and
I have no objection to hearing it...Is that his design in settling here?...for as you are as handsome as any of them, Mr. Bingley
might like you the best of the party" (5-6). After letting the reader hear the contrast between the couple through their
dialogue, Austen then provides a general summary on page 7 of the two parents' differing personalities. The difference
between them is amusing, but it is also ironic. In a novel about couples overcoming misunderstandings of each other to
reach marital happiness, the reader's first view of marriage is one of a mismatched couple that cannot communicate.
Because literature of the time was filled with flowery wordiness and emotional excess, Jane Austen's narrative style was
unique in early nineteenth-century literature. Readers could choose among collections of sermons to improve their minds,
tales of sin and punishment to improve their morals, and horror stories to stimulate their circulation. On the other hand,
Pride and Prejudice is told in readable, engaging prose without superfluous words, and it frequently breaks into dialogue so
lively and so revealing of characters. As a result, entire scenes have been lifted bodily from the novel and reproduced in
dramatized versions for stage and screen, such as the BBC’s excellent five-hour 1995 film adaptation. As for point of view, in
some passages the author enters into the mind of one or another of her characters. As you know from our point of view
creative exercise, she sometimes has a paragraph where she assesses a situation through the minds of multiple characters,
revealing their varied attitudes and traits. Most often the narrator enters into the mind of her heroine Elizabeth, and there
she reveals her character's capacity for humor and self-criticism; through Elizabeth we see who and what is worthy of
ridicule. Austen's style is so deceptively lucid that we can hardly believe she submitted her writing to so much polishing and
revision. Here are some specific examples of elements of Austen’s use of syntax, aphorism, and irony.
SYNTAX
PARALLELISM
She was a woman of mean understanding, little information, and uncertain temper. (7)
The business of her life was to get her daughters married; its solace was visiting and news. (7)
He was discovered to be proud, to be above his company, and above being pleased. (12)
…a collection of people in whom there was little beauty and no fashion. (18)
The evening conversation…had lost much of its animation and almost all of its sense. (59)
PARENTHETICALS
Having, in consequence of being the only plain one in the family, worked hard for knowledge and accomplishments,
[she] was always impatient for display. (25)
Mary had neither genius nor taste; and though vanity had given her application, it had given her likewise a pedantic
air and conceited manner, which would have injured a higher degree of excellence than she had reached. (25)
APHORISM (an aphorism is an adage, a short, terse saying embodying a general truth, or astute observation, as Lord
Acton’s famous line “Power tends to corrupt, and absolute power corrupts absolutely.”
Every impulse of feeling should be guided by reason. (33)
It is particularly incumbent on those who never change their opinion to be secure of judging properly at first. (92)
8
GEOGRAPHY of Pride and Prejudice [from pemberley.com—a great site to check out]
Hertfordshire (“heart-ford-sure”), Derbyshire (“dar-bi-sure”), Kent and Sussex are counties in England that are referenced in the
novel.
Hertfordshire
Imaginary places in Hertfordshire:
Longbourn (residence of the Bennets), Netherfield Park (residence of the Bingleys), Lucas Lodge, (residence of the Lucases), and
the village of Meryton, where the militia regiment is quartered for a time. Less important places in the vicinity are Oakham Mount
(to which Darcy and Elizabeth walk in chapter 59), the memorably named town of “----” (where the London coaches stop, and the
George Inn is located), and the houses or estates of Ashworth, Haye-Park, Purvis Lodge, and Stoke (all of which Mrs. Bennet
considers as possible residences for one of her newly married daughters).
Derbyshire
Imaginary places in Derbyshire:
Pemberley (residence of Mr. Darcy) and the villages of Lambton (former residence of Mrs. Gardiner) and Kympton (where
Wickham was to be the clergyman).
Real places:
Scenic and tourist locations in Derbyshire mentioned in connection with Elizabeth and the Gardiners' tour are Bakewell,
Chatsworth, Matlock, Dove Dale, and the Peak. On their itinerary from Hertfordshire to Derbyshire, they took in Blenheim (the
estate of the Duke of Marlborough) and Oxford, in Oxfordshire; and Warwick, the famous ruined castle of Kenilworth, and the city
of Birmingham, in Warwickshire.
Kent
Imaginary places in Kent:
Rosings (the home of Lady Catherine) and Hunsford (where Mr. Collins is rector) are near Westerham.
Real places:
Ramsgate is a sea-side resort, where Georgiana Darcy stayed for a summer.
Sussex: On the southeast coast the town of Brighton is the fashionable seaside resort, with a temporary military camp, where
Lydia goes. In real life it was the hangout of the Prince Regent (the "king-in-waiting") and his decadent followers; in a letter of
January 8th 1799 to Cassandra, Jane Austen wrote "I assure you that I dread the idea of going to Brighton as much as you do, but I
am not without hopes that something may happen to prevent it." Eastbourne is another seaside town on the Sussex coast, to the
east of Brighton.
London: "Here I am once more in this scene of dissipation and vice, and I begin already to find my morals corrupted,” Jane Austen wrote
in a letter, August 1796.
London is located in southeastern Middlesex. In Austen's time, London area had over a million inhabitants (the first city in Europe
to do so), and was several times larger than any other city in Britain; London was often associated, in the imagination of Austen's
day, with loose morals in both low life and high society—a scene of fashionable, but not necessarily moral diversions and a
dangerous example to the rest of the country. Bromley is between Westerham and London, Epsom is on the southern-eastern
approaches to London, and Clapham is a neighborhood on the south side of the Thames (across from the “City” proper).
Cheapside, where the Bingley sisters accuse Mr. Gardiner of living (he actually lives in Gracechurch Street, further east) is an
unfashionably commercial neighborhood in the “City,” near St. Paul's. Grosvenor Street, where the Hursts live, is in a much more
fashionable neighborhood towards the West End.
The Lake country This area is rugged, scenic, and with literary associations—nineteenth-century Romantic poets such as
William Wordsworth and Samuel Coleridge. It is in the far northwest of England; and Newcastle (where Wickham is later
stationed after his marriage) is in Northumberland in the northeast.
Gretna Green: This town is just over the Scottish border, had weak marriage laws during the 1754-1856 period, which meant it
was known for quickie marriages, even ones with minors who didn't want to have to get parental permission--few questions asked.
That's why Gretna Green is suspected as the destination of one of the Bennet daughters and her lover.
9
10
IB Literature I—Pfeiffer
Study Guide for Pride and Prejudice Volume 1
Both their mother and father have died. Darcy is Georgiana’s guardian.
They live on a grand estate called Pemberley, in the county of Derbyshire, north of London
Charles Bingley (Darcy’s friend) – Mrs. Hurst and Caroline (his sisters)
We learn nothing of their parents, but they seem to have died. Bingley has been successful “in trade,” so to reflect this new social status, he
rents an estate near Meryton called Netherfield.
This family is friendly with the Bennet family; they also live near Meryton.
CHARACTERS
Mr. Bennet Country gentleman who has five daughters: Jane, Elizabeth (Lizzy), Mary, Catherine (Kitty), and Lydia; he
has married beneath him and regrets it; takes refuge in books and sarcastic wit; especially close to his
daughter Elizabeth, but also to Jane.
Mrs. Bennet Unrefined, silly, and often the subject of her husband's sarcasm; her main goal is to marry off her
daughters.
Elizabeth (Lizzy) Intelligent and witty; 20 years old; a keen observer of people and things around her.
Jane Eldest Bennet daughter; 22 years old; more gentle and less judgmental than Elizabeth; they share a close
bond.
Mary Less pretty and more serious than her other sisters; likes to show off her musical talents and book
learning.
Kitty A little older than Lydia, around 16 years old; both Kitty and her youngest sister Lydia are silly, frivolous,
and mainly interested in parties, dances, clothes, and soldiers.
Lydia Youngest Bennet daughter, 15 years old.
Mrs. Long Neighbour of the Bennets who gossips with Mrs. Bennet.
Mr. Bingley A well-mannered, pleasant young man; he has money, from his father's success in business; has just rented
an estate called Netherfield Park, which is near the village of Longbourn, where the Bennets live.
11
VOCABULARY: I have defined the words as they appear in the novel; many of them have other meanings, or the modern
meaning may be a bit different—that’s why you should keep this list nearby when you read. The words in bold will be on the next
vocabulary quiz. Remember that this novel uses British English. In the text you will also notice that some words have old spellings
(chuse = choose; teazing = teasing) and some have a space where we usually don't have one (any one; no where). Also, some words
have notations1, this means that you need to see the Explanatory Notes on pages 416-435 to understand the allusion.
1. How is the first line ironic? From whose point of view is it?
2. How does the conversation between Mr. and Mrs. Bennet and the last paragraph show them and their relationship?
Chapter Two
12
6. Why is Mr. Bennet the way he is?
Chapters 3-4
NEW CHARACTERS
Miss Caroline Bingley Bingley's sister; a fashionable young woman, but superficial and selfish, she's a social climber who is
ambitious to rise in society through marriage.
Mrs. Louisa Hurst Bingley's married sister, similar in character to her younger sister.
Mr. Hurst Bingley's brother in law; a lazy man only interested in food and entertainment.
Fitzwilliam Darcy An extremely wealthy aristocrat (one of the top 400 most wealthy in England); proud, haughty and
extremely conscious of class differences at the beginning of the novel. He does, however, have a strong
sense of honor and virtue
VOCABULARY: I have defined the words as they appear in the novel; many of them have other meanings, or the modern
meaning may be a bit different. On page 12, &c = etc.
Chapter Three
1. How does Darcy's behavior (and others' views of it) differ from Bingley's at the Meryton assembly?
2. How does Darcy offend Elizabeth, and how does she react? Is she hurt by the comment?
Chapter Four
4. What first impressions do Elizabeth and Darcy have of each other, and why might these first impressions prevent them
from going beyond that judgment?
Chapters 5-6
NEW CHARACTERS
Charlotte Lucas Elizabeth's close friend, intelligent, but plain looking; has a practical outlook on life, love, and marriage.
Sir William Lucas Charlotte's father, trying to act the part of a member of the upper class and fashionable society, but is
crude and loud, and speaks too frankly; later, he says something in public that causes a big problem for
others.
word ch.pg definition context
intimate 5.19 having a close relationship with whom the Bennets were particularly intimate
disgust 5.19 great hatred It had given him a disgust to his business
unshackled 5.19 freed, as if from shackles unshackled by business
elated 5.19 joyful For though elated by his rank
civil 5.19 polite being civil to all the world
render 5.19 cause to become it did not render him supercilious
supercilious 5.19 haughty, disdainful it did not render him supercilious
former 5.19 the first of two mentioned brought the former to Longbourn to hear
misfortune 5.20 bad fortune, ill luck it would be quite a misfortune to be liked by him
mortified 5.21 cause shame or humiliation if he had not mortified mine
piqued 5.21 pride oneself who piqued herself upon the solidity of her reflections
solidity 5.21 condition of being solid or sound the solidity of her reflections
prone 5.21 tending particularly prone to it
complacency 5.21 contentment, satisfaction who do not cherish a feeling of self-complacency
vanity 5.21 excessive pride in oneself Vanity and pride are different things
synonymously 5.21 expressing similar meaning the words are often used synonymously
good will 6.22 good intentions the good will of Mrs. Hurst and Miss Bingley
14
intolerable 6.22 unbearable the mother was found to be intolerable
probability 6.22 likelihood arising in all probability from the influence of
evident 6.22 obvious, easily see understood It was generally evident whenever they met
composure 6.22 tranquility of mind, calmness a composure of temper
impertinent 6.22 ill-mannered people who meddle guard her from the suspicions of the impertinent
impose 6.22 force or pass off on others to be able to impose on the public
consolation 6.22 comfort be but poor consolation to believe the world
simpleton 6.23 fool, silly or stupid person he must be a simpleton indeed not to discover
partial 6.23 having a particularly liking for But if a woman is partial to a man
endeavour 6.23 try, attempt does not endeavour to conceal it
conceal 6.23 hide does not endeavour to conceal it
leisure 6.23 free time, freedom from duty there will be leisure for falling in love
regard 6.23 respect, affection, esteem the degree of her own regard
ascertain 6.24 discover, make certain enabled them to ascertain that they both like...
parties 6.24 person, selected group dispositions of the parties are ever so well known
felicity 6.24 happiness advance their felicity in the least
defects 6.24 imperfections, faults as little as possible of the defects of the person
sound 6.24 with firm basis, free from defect it is not sound
scarcely 6.24 almost not, hardly had at first scarcely allowed her to be pretty
rendered 6.24 shown, represented find it was rendered uncommonly intelligent
symmetry 6.24 harmonious balance failure of perfect symmetry in her form
asserting 6.24 stating, declaring his asserting that her manners were not
satirical 6.25 characterized by irony He has a very satirical eye
defied 6.25 challenged, confronted Miss Lucas defied her friend to mention
persevering 6.25 persisting On Miss Lucas's persevering...she added...
gravely 6.25 seriously And gravely glancing at Mr. Darcy...
capital 6.25 first rate, excellent though by no means capital
entreaties 6.25 pleas, requests before she could reply to the entreaties of...
showing narrow concern for book learning
pedantic 6.25 a pedantic air and a conceited manner
and formal rules
indignation 6.26 anger aroused by something unjust silent indignation
exclusion 6.26 rejection to the exclusion of all conversation
engrossed 6.26 occupied, absorbed was too much engrossed by his own thoughts
improvements, fineness of
refinements 6.26 the finest refinements of polished societies
thought/expression
polished 6.26 refined, cultured the finest refinements of polished societies
savage 6.26 wild, uncivilized person Every savage can dance.
adept 6.26 expert, highly-skilled person you are an adept in the science, Mr. Darcy
inconsiderable 6.26 trivial received no inconsiderable pleasure from...
discomposure 6.27 state of disorder, absence of calm said with some discomposure to Sir William
propriety 6.27 appropriateness, quality of being proper Mr. Darcy with grave propriety requested to be
persuasion 6.27 act of convincing by his attempt at persuasion
excel 6.27 be superior, to beyond a limit or standard You excel so much in the dance
inducement 6.27 motive considering the inducement
complaisance 6.27 wish to please we cannot wonder at his complaisance
archly 6.27 mischievously Elizabeth looked archly, and turned away.
reverie 6.27 daydreaming I can guess the subject of your reverie.
insipidity 6.27 dullness, lack of excitement The insipidity and yet the noise
strictures 6.27 limits, restrictions What would I give to hear your strictures on them!
meditating 6.27 reflecting, pondering meditating on the very great pleasure...
credit 6.28 source of honor or distinction what lady had the credit of inspiring
inspiring 6.28 bringing about, arousing, stimulating the credit of inspiring such reflections
intrepidity 6.28 courage, fearlessness Mr. Darcy replied with great intrepidity.
matrimony 6.28 marriage from love to matrimony in a moment
indifference 6.28 lack of concern or interest His listened to her with perfect indifference
wit 6.28 verbal humor, repartee her wit flowed long
QUESTIONS
Chapter Five
1. What is Charlotte's justification for Darcy's behavior, and what does it show about her?
15
Chapter Six
2. What is Charlotte's view of how a woman should behave around a man she's interested in? What is her view of marriage?
Chapters 7-9
NEW CHARACTERS
Mrs. Phillips Mrs. Bennet's sister; shares some of her foolish qualities, lives in Meryton.
Colonel Forester Head of the military regiment stationed at Meryton; his wife becomes friends with Lydia.
Captain Carter One of the soldiers stationed at Meryton with whom Kitty and Lydia are infatuated.
Mr. Jones A local apothecary.
IMPORTANT CONCEPT
entailment: The legal limitation of the inheritance of landed estate to a specific line of heirs. Usually this meant the male heir, as in
the case of the Bennet estate in Longbourn (which is to be inherited by the closest male heir, Mr. Collins). Since the Bennets
only have daughters, their estate cannot be left to them. This law (entail) may have been established generations earlier
(something Mrs. Bennet can't understand) and can be broken by the heir when he comes of age (reaches adulthood).
VOCABULARY: I have defined the words as they appear in the novel. A strange spelling on page 33: ankles (for ankles).
17
genteel 9.43 well mannered so genteel and so easy
mince 9.44 finely chopped meat mince pies
pity 9.44 shame It is a pity they are not handsome
particular 9.44 special She is our particular friend
efficacy 9.44 effectiveness first discovered the efficacy of poetry
stout 9.44 substantial, powerful Of a fine, stout, healthy love
ensued 9.44 followed general pause which ensued
tremble 9.44 shiver, shake, shiver made Elizabeth tremble lest her mother
lest 9.44 for fear that made Elizabeth tremble lest her mother
tax 9.45 make demands on, burden the youngest should tax Mr. Bingley with
assurance 9.45 self-confidence, boldness had increased into assurance
QUESTIONS
Chapter Seven
1. Does Mrs. Bennet's scheme work for Jane? How does it affect Elizabeth?
Chapter Eight
2. What effect does Caroline Bingley want her critical comments of Elizabeth to have on Darcy? Is Miss Bingley successful
or not?
Chapter Nine
3. How is Elizabeth embarrassed by her family at Netherfield Park?
NEW CHARACTERS
Hill The Bennet family cook and maid.
Mr. Collins Mr. Bennet's cousin, heir to the Longbourn estate, a clergyman; he is pompous, pretentious, always
flattering and seeking the approval of social superiors. Collins is one of Austen's great comic
creations, used to attack social pretension and conventional ideas about marriage.
Lady Catherine de Bourgh Darcy's aunt and Mr. Collins' patron (he is the clergyman who lives next to her estate, Rosings
Park); she is bossy and meddling; she is very concerned with social appearances and status. Austen
also uses her character to make fun of society.
18
alacrity 10.50 eagerness, speed moved with alacrity
reprehensible 10.50 deserving criticism, blameworthy more wrong and reprehensible
approbation 10.50 praise too little to care for his approbation
despising 10.50 hating pleasure of despising my taste
overthrowing 10.50 overturning, ruining delight in overthrowing
premeditated 10.50 planned in advance their premeditated contempt
dare 10.50 have the courage for the challenge if you dare
affront 10.51 insult expected to affront him
bewitched 10.51 fascinated, enchanted never been so bewitched by any woman
compass 10.51 achieve, obtain if you can compass it
cure 10.51 heal do cure the younger girls
abominably 10.51 unpleasantly, terribly You used us abominably ill
avenue 10.52 road lined with trees go into the avenue
gaily 10.52 happily She then ran gaily off
rambled 10.52 wandered as she rambled about
considerable 11.53 many, great Their powers of conversation were considerable.
anecdote 11.53 verbal tale, story relate an anecdote with humour
diffuseness 11.53 wordiness but diffuseness and warmth remained
salutation 11.53 greeting remained for Bingley's salutation
petition 11.53 request, plea found even his open petition rejected
quest 11.54 search in quest of some amusement
insufferably 11.54 unbearably, intolerably something insufferably tedious in the usual
tedious 11.54 boring something insufferably tedious in the usual
order of the day 11.54 plan, condition made the order of the day
inflexibly 11.55 stubbornly Darcy...was still inflexibly studious
studious 11.55 interested in study Darcy...was still inflexibly studious
attitude 11.55 position of the body, state of mind sitting so long in one's attitude
novelty 11.55 newness awake to the novelty of attention
confidence 11.55 secrecy, friendship in each other's confidence
plague 11.56 harass, annoy We can all plague and punish one another
uncommon 11.56 rare That is an uncommon advantage
ridiculous 11.56 absurd, laughable may be rendered ridiculous by a person
whims 11.56 impulse, passing fancy whims and inconsistencies do divert me
inconsistencies 11.56 something not consistent whims and inconsistencies do divert me
regulation 11.56 control always under good regulation
pretension 11.56 claim I have made no such pretension.
vouch 11.56 verify My temper I dare not vouch for.
puffed about 11.56 blown about My feelings are not puffed about
implacable 11.57 unyielding, unchanging Implacable resentment is a shade in a
shade 11.57 flaw, fault resentment is a shade in a character
propensity 11.57 inclination, tendency a propensity to hate every body
wilfully 11.57 purposely And your is wilfully to misunderstand them
propitious 12.58 favorable, gracious Her answer...was not propitious
postscript 12.58 addition to a letter, at the end in her postscript it was added that
spare 12.58 do without she could spare them very well
laconic 12.59 having few words, concise, terse though very laconic in his expressions
flogged 12.59 beaten a private had been flogged
roused 13.60 aroused, caused This roused a general astonishment
rail 13.61 complain she continued to rail bitterly
bitterly 13.61 with resentment she continued to rail bitterly
iniquitous 13.61 wicked a most iniquitous affair
filial 13.61 having to do with a son's duties had some filial scruples
scruples 13.61 ethics, principles had some filial scruples
subsisting 13.61 existing disagreement subsisting between yourself
breach 13.61 division, break up heal the breach
variance 13.61 being different, varying pleased him to be at variance
ceremony in which a person is
ordination 13.61 having received ordination at Easter
admitted into the church
patronage 13.61 financial support distinguished by the patronage of
bounty 13.61 plentiful gifts whose bounty and beneficence has
beneficence 13.61 acts of charity or kindness whose bounty and beneficence has
rectory 13.61 home of parish minister the valuable rectory of this parish
parish 13.61 church the valuable rectory of this parish
19
demean 13.61 humble oneself endeavour to demean myself
conscientious 13.62 thoughtful a most conscientious and polite young man
indulgent 13.62 giving in to someone's desires should be so indulgent as to let him
atonement 13.62 act of making up for an offence make us the atonement he thinks our due
deference 13.62 courteous respect his extraordinary deference for Lady Catherine
pompous 13.62 haughty something very pompous in his stile
servility 13.63 acting like a servant, acting lowly a mixture of servility and self-importance
punctual 13.63 exactly on time Mr. Collins was punctual to his time
stately 13.63 dignified, majestic His air was grave and stately
fame 13.63 reputation fame had fallen short of the truth
destitute 13.63 poor, impoverished for else they will be destitute enough
allude 13.63 refer to You allude perhaps to the entail
precipitate 13.64 acting hastily I am cautious of appearing forward and precipitate
asperity 13.64 ill temperedness, irritability assured him with some asperity
QUESTIONS
Chapter Ten
1. What do the conversations reveal about each character (Miss Bingley, Darcy, Bingley, Elizabeth)?
Chapter Eleven
2. In the last two chapters, what has caused Darcy's affection for Elizabeth to deepen?
Chapter Twelve
3. Why does Darcy ignore Elizabeth during her and Jane's last day at Netherfield?
Chapter Thirteen
4. What is humorous about Mr. Collins' character and actions at Longbourn?
Chapters 14-16
NEW CHARACTERS
Denny An officer in the Meryton regiment, object of Lydia's affection and friend of Wickham's.
Wickham An officer who has a past connection with Darcy: the two men grew up together at Pemberley. Wickham says a lot
of bad things about Darcy, influencing Elizabeth's opinion of Darcy.
VOCABULARY: I have defined the words as they appear in the novel. There is something odd on page 72: "―shire," which was a
convention at the time so an author didn't have to be geographically specific; there is also an odd spelling: crouded (for crowded).
word ch.pg definition context
eloquent 14.65 persuasive, graceful, and fluent in speaking appeared eloquent in her praise
elevated 14.65 raised to a higher level The subject elevated him to
solemnity 14.65 seriousness more than the usual solemnity of manner
aspect 14.65 countenance, look with a most important aspect
affability 14.65 friendliness, gentleness such affability and condescension
discourses 14.65 speeches approve of both the discourses
vouchsafed 14.65 condescend to give something had even vouchsafed to suggest some
abode 14.66 home my humble abode
widow 14.66 woman whose husband has died she was a widow
constitution 14.66 physical condition of a sickly constitution
deprived 14.66 take away from, deprive has deprived the British court
ornament 14.66 person who is a source of pride or honor of its brightest ornament
duchess 14.66 wife of a duke; aristocrat born to be a duchess
dose 14.67 portion (usually of medicine) the dose had been enough
monotonous 14.67 dull, without variation with very monotonous solemnity
stamp 14.67 nature or quality books of a serious stamp
importune 14.67 annoy, vex no longer importune my young cousin
antagonist 14.67 game partner, enemy as his antagonist at backgammon
backgammon 14.67 board game as his antagonist at backgammon
miserly 15.68 greedy an illiterate and miserly father
subjection 15.69 condition of being under someone's power The subjection in which his father had
prosperity 15.69 wealth early and unexpected prosperity
veneration 15.69 great respect his veneration for her as his patroness
20
obsequiousness 15.69 servility, servile compliance pride and obsequiousness
reconciliation 15.69 settling of a dispute seeking a reconciliation
eligibility 15.69 condition of being qualified or worthy full of eligibility and suitableness
parsonage 15.70 home of a clergyman beginning with his parsonage-house
avowal 15.70 acknowledgement, admission to the avowal of his hopes
amid 15.70 surrounded by, in the middle of amid very complaisant smiles
treasured up 15.70 valued highly, saved for future use Mrs. Bennet treasured up the hint
good graces 15.70 state of being in someone's favor high in her good graces
cessation 15.70 act of ceasing, halting with little cessation
exceedingly 15.70 very much discomposed Mr. Bennet exceedingly
bonnet 15.71 woman's hat held in place with a ribbon a very smart bonnet indeed
recal 15.71 bring back, bring back to awareness could recal them
pretence 15.71 act of pretending under the pretence of wanting something
entreated 15.71 asked for entreated permission to introduce
corps 15.71 group of soldiers accepted a commission in their corps
address 15.71 way of speaking very pleasing address
readiness 15.71 willingness, promptness a happy readiness of conversation
unassuming 15.71 humble, modest perfectly correct and unassuming
corroborated 15.71 confirmed, supported Mr. Darcy corroborated it with a bow
long 15.72 desire, want it was impossible not to long to know
pressing 15.72 demanding, urgent Miss Lydia's pressing entreaties
contemplation 15.72 act of thinking but her contemplation of one stranger
mutual 15.73 possessed in common they parted in mutual good spirits
unwearying 15.73 not tiring, without pause assured with unwearying civility
convey 16.74 give, pass on did not at first convey much gratification
proprietor 16.74 owner who was its proprietor
digressions 16.74 comments that are off the point with occasional digressions
retail 16.74 tell and retell resolving to retail it all among her
stuffy 16.75 dull, formal broad-faced stuffy uncle Philips
threadbare 16.75 overused, hackneyed, trite the commonest, dullest, most threadbare
at intervals 16.75 at times, stages, from time to time he had still at intervals a kind listener
whist 16.75 card game by sitting down to whist
impartial 16.76 without judgment impossible for me to be impartial
deserts 16.77 something deserving reward or punishment be estimated beyond their deserts
proclaim 16.77 say or state publicly what I might proclaim to all the world
scandalous 16.77 shocking, causing scandal his behaviour to myself has been scandalous
verily 16.77 truly I verily believe I could forgive himj
prospect 16.77 thought, possibility It was the prospect of constant society
procured 16.77 brought about, provided Meryton has procured them
bequeathed 16.78 left to someone in a will the late Mr. Darcy bequeathed me
godfather 16.78 man who sponsors a child at baptism He was my godfather
amply 16.78 with a generous amount provide for me amply
disregarded 16.78 not looked at, dismissed from consideration How could his well be disregarded?
redress 16.78 amends, remedy, correction seek legal redress
bequest 16.78 something left to someone in a will the terms of the bequest
imprudence 16.78 quality of being unwise or indiscreet forfeited all claim to it by...imprudence
induced 16.78 caused what can have induced him to behave
malicious 16.79 evil descending to such malicious revenge
just 16.79 honorable and fair I can hardly be just to him
superintendance 16.79 direction, duty of taking care of to my father's active superintendance
wonderful 16.80 astonishing, causing wonder It is wonderful
degenerate 16.80 deteriorate, decline to degenerate from the popular qualities
conversible 16.81 having conversational abilities He can be a conversible companion
liberal-minded 16.81 open-minded he is liberal-minded
dictatorial 16.82 acting like a dictator, an authoritative ruler her manners are dictatorial and insolent
insolent 16.82 rude, arrogant, insulting her manners are dictatorial and insolent
enumerating 16.82 counting off, naming one by one enumerating all the dishes at supper
QUESTIONS
Chapter Fourteen
1. How does Mr. Bennet make fun of Mr. Collins, and how does Collins show himself to be both pompous and servile?
21
Chapter Fifteen
2. After he finds out that Jane may be soon engaged to another gentleman, Collins turns his attentions to Elizabeth. What
does this show about him?
3. On the street in Meryton, what does Elizabeth notice when Darcy and Wickham meet?
Chapter Sixteen
4. What does Wickham say that Darcy has done to him?
5. How does Elizabeth react to this news? What does this show about her?
Chapters 17-18
IMPORTANT CONCEPT
Social status and social rules: On pages 95-96 when Mr. Collins decides to introduce himself to Darcy, he commits a serious social
error. Because of his self-importance and arrogance, Mr. Collins believes that through his association with his patron Lady
Catherine de Bourgh, he has risen to a higher social level. It was improper in the more formal early 19 th century English
society for someone of a lower rank to just walk up to a member of the upper class and introduce himself―rank and wealth
were very important in social relations. Elizabeth is extremely aware of these social conventions, and is continually being
embarrassed by her family's lack of propriety.
VOCABULARY: I have defined the words as they appear in the novel. There are some odd spellings: exstasy (for ecstasy); stopt
(for stopped).
word ch.pg definition context
veracity 17.84 truth question the veracity of a young man
alienated 17.84 set them apart from others circumstances which have alienated them
ceremony 17.85 formality every thing mentioned without ceremony
distressing 17.85 upsetting it is distressing
ceremonious 17.85 formal instead of a ceremonious card
ball 17.86 dance a ball was, at any rate, a ball
profess 17.86 declare, claim I profess myself one of those who
recreation 17.86 fun, leisure who consider intervals of recreation
rebuke 17.86 criticism, reprimand dreading a rebuke either from the Archbishop
tendency 17.86 inclination young man of character can have any evil tendency
soliciting 17.86 asking for I take this opportunity of soliciting yours, Miss Elizabeth
taken in 17.86 tricked, deceived Elizabeth felt herself completely taken in.
perforce 17.86 by necessity her own was per force delayed a little
quadrille 17.86 card game assisting to form a quadrille table at Rosings
vivacity 17.86 liveliness, spirit a compliment on her wit and vivacity
pitiable 17.87 arousing pity or compassion would have been in a pitiable state at this time
by proxy 17.87 with the help of someone else the very shoe-roses for Netherfield were got by proxy
trial 17.87 test, challenge Even Elizabeth might have found some trial of her patience
in vain 18.88 without success looked in vain for Mr. Wickham
surmount 18.89 overcome, conquer ...ill humour, which she could not wholly surmount
transition 18.89 switch or change unable to make a voluntary transition to
presence of mind 18.89 poise, self-control fret over her own want of presence of mind
console 18.89 comfort, make feel better Charlotte tried to console her.
oblige 18.90 force, constrain the greater punishment to her partner to oblige him to talk
taciturn 18.90 uncommunicative, laconic an unsocial, taciturn disposition
posterity 18.90 future generations handed down to posterity
eclat 18.90 brilliance of performance with all the eclat of a proverb
in the affirmative 18.90 yes, asserting yes She answered in the affirmative
hauteur 18.90 arrogance A deeper shade of hauteur overspread his features
constrained 18.91 restrained At length Darcy spoke, and in a constrained manner
desirous 18.91 wanting to, desiring seemed desirous of changing the subject
first circles 18.91 highest level, most talented you belong to the first circles
upbraiding 18.91 criticizing sharply whose bright eyes are also upbraiding me
forcibly 18.91 with force seemed to strike him forcibly
unappeasable 18.92 unable to be calmed, fixed your resentment once created was unappeasable
incumbent 18.92 obligatory It is particularly incumbent on those who never
merely 18.92 just; only Merely to the illustration of your character
22
gravity 18.92 seriousness endeavouring to shake off her gravity
get on 18.92 understand I do not get on at all.
accosted 18.93 approached first with an expression of civil disdain thus accosted her
implicit 18.93 implied, suggested not to give implicit confidence to all his assertions
sneer 18.93 scornful facial expression turning away with a sneer
interference 18.93 act of interfering, intruding Excuse my interference.―It was kindly meant.
malice 18.93 desire to harm others the malice of Mr. Darcy
pardon 18.94 forgiveness you may be sure of my pardon
regard 18.94 respect has deserved to lose Mr. Darcy's regard
exultation 18.95 joy, rejoicing told her with great exultation
convince someone not to do
dissuade 18.95 Elizabeth tried hard to dissuade him from such a scheme
something
scope 18.95 range all matters within the scope of your understanding
laity 18.95 people not in the clergy amongst the laity
dictates 18.96 orders, commands follow the dictates of my conscience
discernment 18.96 keenness of perception so well convinced of Lady Catherine's discernment
perverseness 18.97 something which is not right or good a most unlucky perverseness which placed them
self-gratulation 18.97 self-congratulation were the first points of self-gradulation
consign 18.97 give over to the care of another to be able to consign her single daughters to the care
triumphantly 18.97 victoriously triumphantly believing there was no chance of it
revive 18.98 come back to life, regain good spirits Elizabeth now began to revive.
tranquillity 18.98 calmness, peace But not long was the interval of tranquillity
in agonies 18.98 in agony, in pain Elizabeth was in agonies.
impenetrably 18.98 strongly, unable to be penetrated impenetrably grave
applied to 18.98 asked for help Others of the party were now applied to.
compatible 18.99 agreeable, harmonious perfectly compatible with the profession of a clergyman
conciliatory 18.99 pleasant, friendly attentive and conciliatory manners towards every body
preferment 18.99 advancement to whom he owes his preferment
repulsed 18.100 rejected by denial or rudeness They repulsed every attempt of Mrs. Bennet at conversation
languor 18.100 stillness, laziness threw a languor over the whole party
whither 18.101 where after his return to London, whither he was obliged to go
eclipsed 18.101 surpassed, outshone the worth of each was eclipsed by Mr. Bingley and Netherfield
QUESTIONS
Chapter Seventeen
1. When Elizabeth asks for Jane's opinion of the Wickham/Darcy conflict, what is Jane's assessment?
2. When Elizabeth realizes that Mr. Collins has his sights set on her, what does she decide to do?
Chapter Eighteen
3. How does Elizabeth and Darcy's dance together develop and/or hinder their relationship?
4. During the evening at Netherfield, how does Elizabeth's family (including Mr. Collins) embarrass her?
Chapters 19-23
VOCABULARY: I have defined the words as they are used in the novel.
word ch.pg definition context
diffidence 19.102 state of hesitancy, timidity having no feelings of diffidence
hastening 19.102 quickly moving away she was hastening away
injunction 19.102 command, order Elizabeth would not oppose such an injunction
incessant 19.103 continual, constant tried to conceal by incessant employment
diversion 19.103 something that distracts divided between distress and diversion
modesty 19.103 propriety in speech your modesty...rather adds to your other perfections
disservice 19.103 harmful action, injury far from doing you any disservice
purport 19.103 purpose You can hardly doubt the purport of my discourse
dissemble 19.103 pretend your natural delicacy may lead you to dissemble
tempered 19.104 moderated, adjusted when tempered with the silence and respect
inevitably 19.104 unavoidably and respect which her rank will inevitably excite
excite 19.104 produce, arouse respect which her rank will inevitably excite
reproach 19.104 criticism no ungenerous reproach shall ever pass my lips
23
altar 19.105 front of the church lead you to the altar ere long
ere 19.105 before lead you to the altar ere long
suit 19.105 proposal said as much to encourage my suit
hitherto 19.106 until this time If what I have hitherto said
give me leave 19.106 allow You must give me leave to flatter myself
manifold 19.106 multiple in spite of your manifold attractions
uniformly 19.106 consistently You are uniformly charming!
sanctioned 19.106 authorized when sanctioned by the express authority of
express 19.106 particular when sanctioned by the express authority of
decisive 19.107 conclusive in such a manner as must be decisive
affectation 19.107 display, manner the affectation and coquetry of an elegant female
coquetry 19.107 flirtation the affectation and coquetry of an elegant female
dawdled 20.108 wasted time having dawdled about in the vestibule
vestibule 20.108 entryway, foyer having dawdled about in the vestibule
felicitations 20.108 congratulations returned these felicitations with equal pleasure
relate 20.108 tell, explain proceeded to relate the particulars of their interview
stedfastly 20.108 constantly, firmly his cousin had stedfastly given him
bashful 20.108 shy would naturally flow from her bashful modesty
headstrong 20.108 stubborn She is a very headstrong foolish girl
persists 20.108 hold firmly to a purpose If therefore she actually persists in rejecting
liable 20.109 tending to have if liable to such defects of temper
affair 20.110 matter, incident her husband regarded the affair as she wished
spared by 20.111 saved by Charlotte's reply was spared by the entrance
Aye 20.111 yes Aye, there she comes
effusion 20.111 unrestrained outpouring listened in silence to this effusion
sooth 20.111 relieve from worry, calm any attempt to reason with or sooth her
projected 20.112 extended, thrown out began the projected conversation
resignation 20.112 act of giving up Resignation to inevitable evils
inevitable 20.112 unable to avoid Resignation to inevitable evils
preferment 20.112 promotion as fortunately as I have been in early preferment
interpose 20.112 insert a remark requesting you to interpose your authority
dismission 20.112 dismissal having accepted by dismission from your daughter's lips
peevish 21.113 ill-tempered, quarrelsome from some peevish allusion of her mother
dejection 21.113 state of being depressed not by embarrassment or dejection
resentful 21.113 feeling ill will resentful silence
assiduous 21.113 diligent, persistent the assiduous attentions which he had been so sensible of
morrow 21.113 tomorrow The morrow produced no abatement of Mrs. Bennet's
abatement 21.113 easing The morrow produced no abatement of Mrs. Bennet's
lament 21.113 mourn, regret to lament over his absence from the Netherfield ball
self-imposed 21.113 voluntarily endured his absence had been self-imposed
forbearance 21.114 tolerance, patience approved of his forbearance
bestowed 21.114 given to which they civilly bestowed on each other
dwelling 21.114 focusing saw her dwelling intently
intercourse 21.114 communication between people returns of the delightful intercourse we have known
beaux 21.115 boyfriends, suitors that your beaux will be so numerous
reserves 21.115 restraint I have no reserves with you.
intermarriage 21.115 marriage between families when there has been one intermarriage
ingenuity 21.117 cleverness there is certainly some ingenuity
merit 21.117 value sensible of your merit
fret 21.117 worry fret no longer
deliberation 21.117 act of deciding if upon mature deliberation
disobliging 21.117 not pleasing the misery of disobliging his two sisters
utmost 21.117 most, highest treated with the utmost contempt
desponding 21.118 becoming disheartened Jane's temper was not desponding
bewailed 21.118 cried out she bewailed it as exceedingly unlucky
slyness 22.119 cleverness with admirable slyness
irksome 22.120 annoying his society was irksome
preservative 22.120 something preserved must be their pleasantest preservative from want
prosperous 22.121 thriving, favorable longing to publish his prosperous love
avail 22.121 make use of I shall avail myself of it
concurrence 22.121 agreement without her ladyship's concurrence
bounds 22.122 limits the bounds of decorum
24
pang 22.123 sudden spasm of pain And to the pang of a friend disgracing herself
incredulous 23.124 not believing an audience not merely wondering, but incredulous
boisterously 23.124 noisily boisterously exclaimed
courtier 23.124 one who seeks favor the complaisance of a courtier
vent 23.125 opening giving escape her feelings found a rapid vent
inferences 23.125 suggestions Two inferences...were plainly deduced from the whole
deduced 23.125 reach a conclusion Two inferences...were plainly deduced from the whole
barbarously 23.125 uncivilly, unfairly she herself had been barbarously used by them all
dwelt 23.125 focused, concentrated two points she principally dwelt during the rest of the day
appease 23.125 satisfy, calm Nothing could console and nothing appease her
improbable 23.125 not possible to consider it improbable
retort 23.125 reply quickly triumph on being able to retort on Mrs. Bennet
rectitude 23.125 quality of being morally correct of whose rectitude and delicacy
rapturous 23.126 filled with great joy with many rapturous expressions
incensed 23.126 angered which highly incensed Mrs. Bennet
successor 23.127 one who takes over for another As her successor in that house
abhorrence 23.127 hatred she regarded her with jealous abhorrence
QUESTIONS
Chapter Nineteen—Twenty
1. What makes Mr. Collins' proposal funny?
Chapter Twenty-one—Twenty-two
2. How is Elizabeth contrasted with Jane in chapter 21?
3. What is Elizabeth's reaction to Charlotte's engagement and what does her reaction show about her?
Chapter Twenty-three
4. Besides the prospect of Charlotte's marriage, what else is causing the Bennet family anxiety?
25
IB Literature—Pfeiffer
Pride and Prejudice (1813): Reading Guide for Volume 2 (Chapters 24-42)
Chapters 24-26
NEW CHARACTERS
Mr. and Mrs. Gardiner Elizabeth's uncle and aunt (Mr. Gardiner is Mrs. Bennet's and Mrs. Philips' brother); Mr. Gardiner is "in
trade," a businessman in London. Even though they live in what Mrs. Hurst and Miss Bingley would
consider an unfashionable part of London, the Gardiners are quite respectable and have better
manners than the upper-class characters we have met. Mrs. Gardiner is especially close to her nieces
Elizabeth and Jane. Both Mr. and Mrs. Gardiner play key roles in the novel.
VOCABULARY: I have defined the words as they are used in the novel.
Chapter Twenty-four
1. Why and how does the mood of the story now change?
Chapter Twenty-five
3. What is the connection between Mrs. Gardiner and Wickham?
Chapter Twenty-six
4. How does Austen reveal the closeness between Mrs. Gardiner and Elizabeth?
5. Two romantic plot lines seem to be resolved in these chapters: Jane's chances with Bingley, and Elizabeth's chances with
Wickham. How do different members of the Bennet family react and respond
1
Chapters 27-30
NEW CHARACTERS
Mrs. Jenkinson Miss de Bourgh's governess, her constant companion.
Miss de Bourgh Lady Catherine de Bourgh's daughter, a sickly young woman.
Colonel Fitzwilliam Darcy's cousin; the younger son of a lord. [refer to your question 5 response for more information]
VOCABULARY: I have defined the words as they are used in the novel.
Chapter Twenty-seven
1. On what subject do Elizabeth and Mrs. Gardiner disagree?
Chapter Twenty-eight
2. Elizabeth seems to regain some respect for Charlotte. What does she learn about Charlotte's living arrangement?
Chapter Twenty-nine
4. What is the purpose of this chapter? What does it add to the plot of the story?
Chapter Thirty
5. Who is Colonel Fitzwilliam, and what kind of person does he seem to be?
2
Chapters 31-33
VOCABULARY: I have defined the words as they are used in the novel. There is an odd spelling on page 180: Unles for Unless.
Chapter Thirty-one
1. What do Darcy and Elizabeth reveal about their own characters and the other's in the "piano conversation" on pages
170-171?
Chapter Thirty-two
2. What makes Darcy's visit to Hunsford Parsonage awkward?
3. What do you think is Darcy's motivation for going there and for saying what he says?
4. What is Charlotte noticing between Darcy, Colonel Fitzwilliam, and Elizabeth? What is her interpretation?
Chapter Thirty-three
5. What makes Elizabeth think Colonel Fitzwilliam is interested in her?
6. On their walk, what does Elizabeth say that startles Colonel Fitzwilliam, and what does Colonel Fitzwilliam say that
upsets Elizabeth?
Chapters 34-36
NEW CHARACTER
Mrs. Younge Miss Georgiana Darcy's former governess; an acquaintance of Wickham's.
VOCABULARY: I have defined the words as they are used in the novel. One strange spelling: dropt for dropped.
Chapter Thirty-four
1. Darcy says, "In vain have I struggled." What has he been struggling with, specifically?
Chapter Thirty-five
4. What key things does Elizabeth learn in Darcy's letter?
Chapter Thirty-six
5. In her long contemplation over the letter, on what points does Elizabeth conclude that Darcy must be correct?
6. As a result of reading and thinking about Darcy's letter, what does Elizabeth now realize about herself? (201-202)
Chapters 37-40
VOCABULARY: I have defined the words as they are used in the novel. One strange spelling: sallad for salad (211).
Chapter Thirty-seven
1. Elizabeth does a lot of thinking about what has happened and what she has learned. What certainties does she arrive at
regarding Bingley's affection for Jane, her family's behavior, and her feelings for Darcy?
Chapter Thirty-eight
2. What is funny about Mr. Collins' farewell to Elizabeth?
Chapter Thirty-nine
3. Why are the follies of the Bennet family no longer amusing to Elizabeth (and the reader)?
5
Chapter Forty
4. When Elizabeth finally tells Jane about what happened in Kent, what does she keep secret from her?
5. What is Jane's reaction to the Wickham and Darcy situation, and how does Elizabeth react to Jane's response?
Chapters 41-42
VOCABULARY: I have defined the words as they are used in the novel. There is one odd spelling: uncontrouled for uncontrolled
(223).
Chapter Forty-one
1. What are Mr. Bennet's reasons for allowing Lydia to go to Brighton? How does Austen (and Elizabeth?) judge Mr. Bennet
as a husband and father?
Chapter Forty-two
3. Earlier Elizabeth said that she was sure she never cared to see Darcy again. At the end of this chapter, do you believe
her? Why or why not?
6
IB Literature—Pfeiffer
Pride and Prejudice (1813): Study Guide for Volume 3 (Chapters 43-61)
Chapters 43-44
NEW CHARACTER
Mrs. Reynolds Darcy's elderly housekeeper, whom Elizabeth and the Gardiners meet at Pemberley.
VOCABULARY: I have defined the words as they are used in the novel. There is one odd spelling: connexion for connection.
1
QUESTIONS to check your understanding:
Chapter Forty-three
1. Why do you think that this chapter is considered one of the most important of the novel?
Chapter Forty-four
4. How does Elizabeth feel about meeting Miss Darcy?
5. Do Darcy and his sister have anything in common? Do Elizabeth and Miss Darcy have anything in common?
7. One of the hardest things a novelist can do is portray convincingly a change in a character. Does Austen succeed with Darcy?
If so, how?
Chapters 43-44
NEW CHARACTER
Mrs. Annesley Miss Darcy's current governess, with whom she lives in London.
VOCABULARY: I have defined the words as they are used in the novel. There is one odd spelling: secresy for secrecy.
2
QUESTIONS to check your understanding:
Chapter Forty-five
1. How are Elizabeth and Mrs. Gardiner received at Pemberley by the Bingley sisters, Miss Darcy, and Darcy?
2. What evidence can you find for Darcy's current feelings for Elizabeth?
Chapter Forty-six
3. What do you think Darcy is thinking on page 265-266? What does Elizabeth think about after he leaves?
Chapters 47-48
VOCABULARY: I have defined the words as they are used in the novel. The words in bold will be on the next vocabulary test.
There is one odd spelling: drily for dryly.
3
QUESTIONS to check your understanding:
Chapter Forty-seven
1. Who do you think is to blame for the Bennet family crisis?
Chapter Forty-eight
3. How would you describe Mr. Collins' letter?
Chapters 49-51
NEW CHARACTER
Haggerston Mr. Gardiner's lawyer or accountant (it's not explained).
VOCABULARY: I have defined the words as they are used in the novel. There is one odd thing: dont for don't.
Chapter Forty-nine
1. What is the great act of generosity Mr. Bennet and Elizabeth believe that Mr. Gardiner has done for the family?
Chapter Fifty
2. What are Elizabeth's thoughts about and feelings toward Darcy now (294-296)?
Chapter Fifty-one
3. What is so outrageous about Lydia's behavior at Longbourn?
4
4. In watching the newlyweds, what assessment does Elizabeth give of their relationship (301)?
Chapters 52-53
VOCABULARY: I have defined the words as they are used in the novel. On page 314, there is an old verb form you may not know:
shan't, which means shall not.
Chapter Fifty-two
1. What is Mrs. Gardiner's opinion of Darcy?
Chapter Fifty-three
4. How does this chapter parallel an earlier chapter?
5. What does Elizabeth have to endure? What does she find so painful?
5
Chapters 54-55
VOCABULARY: I have defined the words as they are used in the novel.
Chapter Fifty-four
1. What humor is there in this chapter? What anxiety is there in this chapter?
Chapter Fifty-five
2. What does Bingley not tell Jane, and why is Elizabeth grateful?
3. What is Mr. Bennet's opinion of Jane and Bingley's marriage? Do you agree with him?
4. What were Bingley's and Jane's main mistakes in the development of their relationship?
Chapters 56-57
VOCABULARY: I have defined the words as they are used in the novel.
Chapter Fifty-six
1. How does Elizabeth show her strength of character in the conversation with Lady Catherine de Bourgh?
2. Besides this chapter, where else does someone warn Elizabeth against a marriage? How are the tones of the scenes different?
6
Chapter Fifty-seven
3. What does Elizabeth think is the nature of the relationship between Lady Catherine and Darcy?
4. When he is writing about Darcy to Mr. Bennet, in which sentences does Collins reveal his character fully (343)?
5. Where does Mr. Bennet reveal his outlook on life in one sentence (343-344)?
Chapters 58-59
VOCABULARY: I have defined the words as they are used in the novel.
Chapter Fifty-eight
1. Describe the style of the new proposal. Why do you think Austen shows it this way?
Chapter Fifty-nine
4. Here's a thought: Who did more for whom: Darcy for Lydia, or Lydia for Darcy? Explain.
5. How would you describe the reaction the impending marriage receives from Jane, Mr. Bennet, and Mrs. Bennet?
7
Chapters 60-61
VOCABULARY: I have defined the words as they are used in the novel.
Chapter Sixty
1. What made Darcy fall in love with Elizabeth?
2. What do you think is the tone and content of Elizabeth's letter to her aunt? of Darcy's letter to his aunt?
Chapter Sixty-one
4. How is Elizabeth's belief that Lydia and Wickham's marriage cannot be a good one confirmed in this chapter?
5. Describe Miss Bingley's, Georgiana Darcy's, and Lady Catherine's reaction, feelings, and attitudes toward Darcy's marriage and
his new wife?
6. What does the end of the novel say about Mr. and Mrs. Gardiner's role?