Jane Austen - Pride and Prejudice. Essay “The plot of Jane Austen’s novel “Pride and Prejudice” Moral values ​​in the novel “Pride and Prejudice”

Today's name Jane Austen is familiar, at least aurally, to the vast majority of people from developed countries. And associations that don’t keep you waiting suggest the phrase “women’s novels.” And although traditionally it is women who read more often and more, in Russian-speaking society, at least, a purely male, slightly arrogant, position has formed, classifying works of this subgenre as second-class literature. Although you will almost certainly hear about the frivolity of Pride and Prejudice from lazy people who will find a hundred excuses not to pick up any book. Personally, I always openly and with interest approach cult works of literature in order to compare the prevailing opinion and my own beliefs. Before moving on to analyzing what I read, I will make, as it seems to me, an important remark. In order not to get confused, you need to remember that in domestic publications you can find the following common translation options: “ Pride and Pride" And " Pride and Prejudice" In addition, the novel should not be confused with another work of the author, of a similar nature, “Feeling and Sensibility” (“Reason and Feeling”) - in my university years, not having copies then, I got them confused.

What does your expressive remark mean, madam? - he asked in surprise. - Do you consider the custom that, before dealing with a stranger, he must be introduced to you, to be absurd? Or do you not like the existing order of such presentation?

If we talk about the sensations that accompany reading Pride & Prejudice, then they can be compared with the reader’s slight abstraction from the outside world, outside the pages of the book. This comparison may seem strange to some, but it’s like getting acquainted with a fantastic work. Not in the sense that the story told turns to the boldly fictional - just with each decade Jane Austen's creative universe and the society that thrives in it become something expressively different, acquiring those very romantic notes, often alien to modern globalization and information dependence in which we are accustomed to living. The heroines of the novel live guided by concepts that are alien to most people who pick up the book. And although Bennet family experiences condescension from the wealthy aristocracy of the province, they are also noble people. Thus, during the hours that we spend with the characters in the novel, we touch life English aristocracy early XIX V its literary diversity. Moreover, the author did not have to look far for inspiration - she surrounded the fictional story of specific people with very real attributes that were well known to her.

If we say out loud the well-known rhetorical question: what can a book teach us, then “Pride and Pride” is one of the highest quality works, the history of which is based on such a concept as morality. A young girl can compromise herself for the rest of her life and become an object of contempt and ridicule if she goes on a horseback ride with an unfamiliar young man, or agrees to communicate with him in the house, without the presence of her parents. The gentleman is obliged to show attention and favor to the participants of the ball so that none of them is on the sidelines of attention that evening. A family that may lose the right to its property due to bureaucratic conventions does not consider intrigue, incitement and deceit. To some, such social chastity will seem unnecessary and alien, but we are simply so accustomed to liberalism, accustomed to turning a blind eye to immorality and depravity, that a defensive reaction of our own convictions can work. I'm not talking about biblical sins and superstitions of the Bronze Age, but about self-esteem.

When she reached the place where the shortcomings of her relatives were harshly and at the same time deservedly condemned, the feeling of shame she experienced became even more acute. She understood too well the justice of the reproaches expressed in the letter to try to refute them.

The storyline concerns the well-being of the Bennet family living in Hertfordshire, which gives the kindly told story a deceptive sense of the reality of what happened. In a house where five young girls live, naturally, the main headache of the mother and, to a lesser extent, the father is the arrangement of their future life. The novel gave us several fascinating images and Elizabeth Bennett considered an example of a strong female image in world literature. She is truly a rebel, without excesses rejecting pressure on herself from the outside, including denying public censure. We will spend most of the work in her campaign, although the scale of events covers other sisters and people involved in their fate. For example, Jane's older sister simply evokes attacks of sympathy and empathy, as an incredibly bright and open, vulnerable image. Acts as one of the facets of the eternal rivalry between good and evil.

The main male character, who became the title character, also deserves a special mention. In the case of Mr Darcy, as the hero of the novel Pride and Prejudice, his fame, as they say, precedes him. The young man shows prudence and composure of mind, which is not characteristic of his environment. Throughout the entire part of the work where Darcy is present, his actions and behavior, in sharp contrast even with his best friend, Charles Bingley, evoke a mixture of emotions - from censure to admiration. The small volume of Austen’s book ensures a certain richness of what is happening, and here I frankly don’t want to skip any individual parts.

Transcript

1 ELECTRONIC SCIENTIFIC JOURNAL “APRIORI. SERIES: HUMANITIES" FEATURES OF THE AUTHOR'S STYLE JANE AUSTIN IN THE NOVEL "PRIDE AND PREJUDICE" Lopukhova Elena Borisovna student Nizhny Novgorod State University. N.I. Lobachevsky Arzamas Abstract. The article presents the results of a study of the specifics of Jane Austen's author's style, manifested in the novel “Pride and Prejudice”. The text of the article highlights the themes and problems of the novel, analyzes the image of Victorian England, illustrated by the writer. The research material also presents cases of the most interesting stylistic decisions of Jane Austen in the process of creating a special figurative space of the work. Key words: literary analysis, theme, problematics, figurative system of the work, stylistic device. FEATURES OF AUTHOR S STYLE OF JANE AUSTEN IN THE NOVEL “PRIDE AND PREJUDICE” Lopukhova Elena Borisovna student Nizhny Novgorod State University of N.I. Lobachevsky Arzamas Abstract. Results of the research of Jane Austen author s style specifics shown in the novel “Pride and Prejudice” are presented in the article. The subject and a perspective of the novel are covered in the text of the article; the image of the Victorian England illustrated by the writer is analyzed. Also the cases of the most interesting Jane Austen s stylistic decisions in the process of creation a special figurative space of the work are presented in material of the research. Keywords: literary analysis, subject, perspective, figurative system of the novel, stylistic device. 1

2 Today it is difficult to find an area that remains unexplored in relation to Jane Austen's novel Pride and Prejudice. This novel is the most famous work of the writer, and one of the most famous in the history of literature. The popularity of the novel is due to many factors: it reveals current problems of society and touches upon topics of interest to the reader. And, of course, all this is written in an interesting language that defines the author's style of Jane Austen. Despite the large number of works devoted to the novel “Pride and Prejudice,” some aspects remain unexplored to this day. In this regard, there is a need for more in-depth research. The novel “Pride and Prejudice” is distinguished by its thematic diversity. It closely intertwines different problems and interests of society. The novel pays considerable attention to the social customs and mores of the upper class of England at the beginning of the 19th century. Thus, Lady Catherine addresses one of the most common social customs: “Young women should always be properly guarded and attended, according to their situation in life.” Pride and Prejudice contains one of the most cherished love stories in English literature: Darcy's courtship of Elizabeth. The theme of love between the main characters runs through the novel as a leitmotif. The emergence of a mutual and tender love between Darcy and Elizabeth seems to imply that Austen views it as something independent of social forces, as something that can be grasped if only the individual can escape the distorting effects of a hierarchical society. Along with the theme of love, it is also advisable to highlight the theme of marriage. The work clearly highlights the idea that marriage and love do not always go together. The very first phrase of the novel that became famous sounds 2

3 as follows: “It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife.” It is thanks to this phrase that the reader understands the importance of marriage, which it was endowed with in the structure of society in Victorian England. In the society that Austen demonstrates, reputation defines a person: going beyond social norms makes an individual vulnerable to ostracism. The situation that happened to one of the heroines of the novel, Lydia, demonstrates the importance of reputation most clearly. Thus, reputation is another theme of the novel. Jane Austen comprehensively illuminated the problem of class in Victorian England. The writer turns to satire when describing class consciousness, especially in Collins's character, the man spends much of his time bowing to his high-ranking patron, Lady Catherine de Bourgh. One of the most striking markers indicating class consciousness can be seen in the following words: “Lady Catherine is far from requiring that elegance of dress in us which becomes herself and her daughter. I could advise you simply to put on whatever of your clothes is superior to the rest there is no occasion for anything more. Lady Catherine will not think the worse of you for being simply dressed. She likes to have the distinction of rank preserved." Lady Catherine, who is the personification of “high society” in the novel, pays special attention to appearance She likes people so that the social difference is preserved and is so obvious that it is expressed even in clothing. Jane Austen, through the totality of images and actions of the characters, demonstrated the hierarchical structure of society, the inequality of its members, and the presence of a large number of prejudices. One of the most common prejudices implied that not every marriage could be consummated. The position of women was insignificant; they had little power in making independent decisions. 3

4 It is quite obvious that Jane Austen considers such a society unproductive, and therefore it is invisibly ridiculed throughout the work. The content of the novel is of interest to the reader not only because of the richness of events, but also because of the truthful presentation of the problems of society. However, as noted earlier, not only the content, but also the stylistic design of the work is very specific and interesting for literary research. Analysis of the compositional structure of the work demonstrates its canonicity. The hook comes from the very first line of the novel; The first act demonstrates the characters and the features of their relationships. The recipient encounters the first plot point when, after the ball in Netherfield Park, Darcy and Caroline convince Bingley to return to London and forget about his growing love for Jane. Deviating the motives and reactions of the characters completely changes the setting of the story, since several famous characters The Bennetts interact with are no longer in the neighborhood. The inciting event is undoubtedly the arrival of Bingley and Darcy in Meryton. The central point of the plot can be called the moment when Darcy proposes to the main character, who, in turn, rejects him. The third plot point can be seen when Lydia runs away with Mr. Wickham. The climax of the work comes when the two main characters finally unite and admit their love for each other. After the climax, Jane Austen ties up all the loose ends in a few neat scenes that include Bennett's reaction to their engagement: “Her father was walking about the room, looking grave and anxious. “Lizzy, he said, what are you doing? Are you out of your feelings, to be accepting this man? Have not you always hated him?” This moment can be called a resolution. Despite the quite standard compositional design, 4

5 Jane Austen does add some specificity to the novel, such as the rather rapid development of each character. All events in the novel “Pride and Prejudice” are connected and consistent, which makes it possible to most effectively not only reveal the plot and characters of the book, but also the problems of the work. Jane Austen managed to create an ambiguous system of character images in the work. In the process of reading, the recipient encounters different personalities, their characters, habits, strengths and weaknesses. Elizabeth Bennet is the main character and she is presented as a beautiful, intelligent and noble girl. Darcy is a kind of male counterpart to Elizabeth. The remaining characters can be called minor, but none of them is repeated: the writer managed to create a specific image for each of them. There is some symbolism in the novel, expressed through the estates. When Lizzie gets to the Rosings estate, she is definitely impressed: “Handsome, modern building with a nice park<...>enumeration of the windows in front of the house, and his relation of what the glazing altogether had cost Sir Lewis de Bourgh." After visiting Pemberley, Elizabeth demonstrates a completely different reaction: “It was a large, handsome stone building, standing well on rising ground, and backed by a ridge of high woody hills; and in front, a stream of some natural importance was swelled into greater, but without any artificial appearance<...>. They were all of them warm in their admiration; and at that moment she felt that to be mistress of Pemberley might be something!” . The splendor of the Pemberley estate is combined with its naturalness, and therefore it is the symbol of Darcy himself in the novel. At first glance, Lady Catherine and Darcy look quite similar: they are both arrogant, cold and proud. But, thanks to their estates, the reader understands that inside they are completely different people. Letters are also a symbol of the work. In a novel where the spoken word 5

6 rules everything, and where personal thoughts do not have significant reflection on the page, letters are a kind of “reserves” for the inner life of the characters. The ball is a kind of allegory in the novel. It was at such events in Victorian England that the search for a life partner was carried out. Balls are a way to form, strengthen and test community bonds. The entire work is filled with the stylistic device of irony. Typically, it is used to ridicule characters and their narrow views. For example, the writer uses irony to describe Mrs. Bennet in an even more ridiculous light when she talks to Elizabeth about her unfulfilled hopes for Jane: “Well, my comfort is, I am sure Jane will die of a broken heart, and then he will be sorry for what he has done." This ironic statement demonstrates the misplaced values ​​that Mrs. Bennet possesses. Jane Austen also uses satire to highlight the ridiculous norms of society. For example, in the next scene, Austen demonstrates the surprise of those present at the appearance of Elizabeth, whose attire runs counter to the ideas of a “refined” society: “with weary ankles, dirty stockings, and a face glowing with the warmth of exercise.” She was shown into the breakfast parlour, where all but Jane were assembled, and where her appearance created a great deal of surprise.” Metaphor and figurative comparison are found on almost every page of the work: “...if you lament over him much longer, my heart will be as light as a feather.” This example reveals Elizabeth's comparison of her heart to a feather. Hyperbole is also quite common in the text of the work. So, for example, through hyperbole the narrator explains how 6

7 Mr. Bennet misses his daughter very much: “His affection for her drew him oftener from home than anything else could do.” The use of contrast allows Jane Austen to solve a number of communicative problems, one of which is the creation of a figurative system of the work: “Bingley was sure of being liked wherever he appeared, Darcy was continually giving offense.” From mentioning Darcy's "offensive" qualities, positive qualities the second character, Bingley, only gets stronger. This provokes the reader to construct their own images of these characters, as well as to understand why people like Bingley so much more than Darcy, as demonstrated at the beginning of the novel. With the help of alliteration, Jane Austen enhances the significance of the thoughts and actions of the characters, which allows the recipient to remember the most significant moments of the narrative: “From the farther disadvantage of Lydia’s society she was of course carefully kept.” Antiptosis details new circumstances that every family should become aware of: “I wish I could say, for the sake of her family.” The vocabulary that Jane Austen uses in her work is archaic, which is quite natural for the period in which the novel was written. It should also be noted that the writer alternates sentences of different lengths: the first is short, the second is longer. This alternation of sentences creates the necessary structure, since if short sentences are used excessively, the text becomes "wavy" and difficult to understand. The sentence length allows the reader to read the novel smoothly. The style chosen by Jane Austen was determined to create patterns and meanings from sentence structure and use of vocabulary. The conducted research allows us to highlight the main features of Jane Austen’s author’s style, among which 7

8 humor, criticizing class society, and significant symbolism, which can be called a specific literary strategy of the writer. The totality of subject-logical and expressive-stylistic information that the writer endowed with her work determines its specificity, distinguishing it from a number of other novels and making it one of the most significant in world literature. List of sources used 1. Austen J. Pride and Prejudice. San Francisco: Ignatus Press, p. 2. Toolan M. Language in Literature: An Introduction to Stylistics. London: Hodder Arnold, p. 3. MacDonagh O. Jane Austen: Real and Imagined Worlds. New Haven: Yale University Press, p. 4. Filipenko S.A. Difficulties of philological text analysis. Voronezh: Aspect, p. 5. Galperin I.R. Experiments in stylistic analysis (in English). M.: Higher school, p. 6. Galperin I.R. Text as an object of linguistic research. M.: Science, p. APRIORI. Series: Humanities apriori-journal.ru Media El FS ISSN

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COURSE WORK

"The Image of the Province in Jane Austen's Novel

"Pride and Prejudice"

INTRODUCTION

The work of Jane Austen belongs to the transitional period of the late 18th - early 19th centuries, when the artistic and literary system changed its direction in development from the Enlightenment to romanticism and realism, which almost simultaneously coexisted in Great Britain and mutually influenced each other. The writer’s novels are constantly in the zone of unflagging reader and research attention, which is associated with the originality of the artistic solution in them to the so-called “eternal” existential questions of human existence. To this day, they are in demand by the reader, as they are dedicated to universal human values ​​that do not lose their relevance, and they reveal the evolution of the concept of a woman’s personality in historical and literary development. The interest of professional researchers is based on the opinion that Jane Austen is an innovator of motifs and techniques that enriched English realistic prose. In this regard, Austen’s work is perceived as the foundation for important discoveries in English literature of the 30s of the 19th century. The consonance of Austen’s works with the most pressing problems of modern civilization determines the demand for research addressed to the “universal human component” of her work, even today, at the beginning of the 21st century.

Despite the fact that the work and life of Jane Austen was studied by such famous critics as R. Liddell, M. Madrick, W. Scott, A. Kettle, S. Morgan, N. Auerbach, R. Fehrer, M. Bradbury, R. Chapman, W. Booth, A. Litz, the analysis of her work is still relevant and interesting in research today.

In a fairly representative foreign and domestic research tradition in the field of studying creative heritage Jane Austen, however, in our opinion, is an aspect that has not been sufficiently studied, such as the influence of the province on the formation of the writer’s worldview and creativity. Related to this is the scientific novelty of the work, which lies in a detailed examination of provincial England in the novel “Pride and Prejudice”. The relevance of the study becomes especially obvious in the context of unquenchable interest in the personality of Jane Austen and her work.

Purpose course work is an analysis of the image of the English province in Jane Austen's novel Pride and Prejudice.

Coursework objectives:

Identification of the relationship between biographical events in Austen’s life and her work;

Revealing the influence of Jane Austen's provincial life on the plot of her novels;

Justification of the need to study the novel “Pride and Prejudice” in terms of historical value;

Consideration of the mental priorities and stereotypes of the provincial environment of England in the 18th century;

Study of stylistic means of revealing the characters' characters based on the novel “Pride and Prejudice”.

The subject of the study is the novel “Pride and Prejudice” itself in Russian and the original language.

The object of the study is the English province of the late 18th - early 19th centuries.

Main research methods: methods of conceptual, philological, functional, component text analysis, elements of comparative, descriptive methods, historical and etymological method.

The theoretical significance of the work lies in the fact that the image of the province in the novel is considered as important characteristic lifestyle and morality of provincials of the 18th century in England.

The practical significance of the work lies in the fact that the presented materials can be used in the practice of university teaching when developing courses on the history of English literature of the 18th - 19th centuries.

The presented work, in addition to the introduction and conclusions, contains three sections that clarify theoretical and practical issues on the formulated topic. In addition, a list of processed scientific sources is attached.

The research material is the original text of Jane Austen’s novel “Pride and Prejudice” and its Russian translation, biographical articles about the writer, publications and studies of Austen’s work, critical literature.

This work can be used for further research.

1. JANE AUSTEN – THE “FIRST LADY” OF ENGLISH LITERATURE

1.1 Jane Austen - the founder of the classic romance novel

Due to the established literary tradition, most authors are men. And in order for “women’s” literature to occupy its niche, it is necessary to position itself as a unique and independent cultural phenomenon. It is necessary to find a different approach to literary activity, different from the “male” one. A woman author, describing her model of seeing and understanding the world, focuses on personal observations and experiences; she is looking for special ways of perceiving and assessing reality, trying not to get lost in the established standards of the male literary tradition. This is what made Jane Austen's novels so popular.

Jane Austen is rightfully considered the “first lady” of English literature; the positivist critic Lewis puts her as an example to Charlotte Bronte, her “exemplary realism” becomes the basis for followers of this genre. Later, J. Eliot discovers the connection of his aesthetic principles with the practice of the “incomparable” (as defined by W. Scott) Jane.

Despite the little fame and popularity of this name in the 19th century, the study of Austen’s literary heritage began during her lifetime. W. Scott, who became one of the first critics and reviewers of Jane Austen, dedicated a detailed article to the novice author. The writer noted the emergence of a fundamentally new “novel style” depicting the everyday life of a person, in which he saw the origin of a realistic image. W. Scott, in his statements about the author’s creative style, expressed the idea that Austen “creatively approaches the romantic heritage and in many ways surpasses his predecessors.”

Jane Austen gave the basis for English realism, which was developed by her followers. She has been and continues to be set as an example more than once. After all, to tell the truth, today there are few writers whose books can be reread at least twice. And reading Austen’s novels at different ages, each time you discover them in a new way, drawing truths and drawing conclusions for yourself, determining what is funny and stupid, and what you really should learn. For example, meekness and patience, the ability to neglect one’s principles and pride, prejudice and arrogance.

It is difficult to disagree with W. Litz, who wrote in his monograph about Austen: “We call her the first “modern” English novelist because she was the first prose writer who synthesized what Fielding and Richardson had achieved, thereby anticipating classic images XIX century, that method that allowed artists to reflect both the course of external events and the entire complexity of individual impressions and perceptions of a person.”

Everything that she herself wrote was perceived and revised by her followers. “It stands at a crossroads in the history of the novel, anticipating in some respects the greater preoccupation with moral issues of the Victorians, while at the same time maintaining the objectivity, skepticism and detachment of the 18th century. Although her social range was limited... in some respects she knew more and had a broader view of life than many of the more experienced and learned writers who came after her."

M. Bradbury emphasizes the relevance and topicality of the writer’s work. According to the researcher, while focusing on the “moral” world in his novels, Austen, however, focuses on what is reasonable and desirable in social relations (marriage, material security). From the point of view of M. Bradbury, Austen's novels are distinguished by a type of narrative style that is progressive compared to previous literature: the omniscient narrator is replaced by the characters' thoughts about what is happening. The comparison of different points of view deepens the psychologism of the narrative, and their obvious polarity creates a comic effect. The listed circumstances, from the researcher’s point of view, indicate both a certain dependence of Austen’s work on the aesthetics of the Enlightenment, and the emergence of features of the author’s realistic consciousness.

Jane Austen was the herald of realism in British literature, the founder of the family, “ladies' novel.” She revolutionized the art of narrative, establishing the leading role of the novel and proving that women have the right to creativity. At one time, Jane Austen took up her pen when a woman writer was criticized and not taken seriously.

The history of the creation of her most popular and famous novel, Pride and Prejudice, begins back in 1796. Austen finished it by August of the following year; she was then twenty-one. Little is known about this early version of the book from its original title, First Impressions. As far as is known, no copy of that original exists. Three months after Miss Austen finished the book, her father offered the manuscript to a publisher in the hope that it would be published. The publisher refused without even seeing the manuscript.

Fortunately for all her fans, the first refusal did not stop Miss Austen, she continued to write; although it was not until the winter of 1811, fourteen years after finishing First Impressions, that she took up the manuscript and began revising it into the book we know today as Pride and Prejudice. The work was much more successful than its earlier incarnation; it was accepted for publication and presented to the world on January 28, 1813.

Jane Austen's name was never attached to any of her published novels during her lifetime, and the title page of Pride and Prejudice read: "From the Author of Sense and Sensibility."

So why are Jane Austen's novels so popular today? Why, despite the fact that the manners and era that gave birth to them are long gone, do they continue to touch and excite readers? The answer to this question is simple. Jane Austen was a great artist who had the ability to “live the lives of her heroes and convey this feeling to readers.” “She was interested in the ordinary, and not what is called extraordinary,” noted S. Maugham. “However, thanks to her visual acuity, irony and wit, everything she wrote was extraordinary.”

The reason for Austen's eternal youth is her subtle irony and cheerful laughter. Immutable truths, outwardly accepted with respect by her, are subjected to ironic ridicule; Her laughter not only amuses, but also awakens thought and undermines the very foundations of false social principles. This is the enduring significance of Austen's irony, its humanity and ethical value.

1.2 The influence of the province on the writer’s work

Jane Austen's life was relatively short and uneventful. She was born in Hampshire into the family of a priest. The family was large: Jane grew up surrounded by six brothers and a sister. The Austins were poor. They kept no servants; only from time to time a village girl came to help with the housework. Mrs. Austin smoked hams and made mead and beer; Cassandra cooked; Jane sewed for the whole family.

Despite the fact that rural existence did not indulge in variety, life in the rural wilderness played a beneficial role for the writer’s creativity. All her works do not pretend to be more than a description of the life of two or three modest provincial families. But the author’s excellent knowledge of human nature and psychology, her subtle humor, her jewelry pen even today, two centuries later, never cease to amaze and delight, giving every right to rank the novels she created among the masterpieces of world literature.

Jane Austen had one quality that is not often found in novelists: she knew her capabilities and their limits. As a fifteen-year-old girl, writing her first unfinished novel in the corner of the classroom, she had already firmly outlined with school chalk the circle of themes, characters and relationships that she recognized as her own; that circle that will not be crossed even in the years of mature creativity. According to the writer herself interesting topic she imagined “the life of several families living in the countryside.”

To some this may seem small and modest, but in this field Jane Austen managed to create surprisingly capacious images and situations that, with purely English humor, described the life of middle-class people in the English province, and received the title of “Queen of the English Novel.” The secret of her popularity is simple: she wrote about what she knew thoroughly, she knew based on her observation and experience taken from everyday life, since she was born in the provinces.

A quiet, cozy place in rural England, where all more or less worthy people know each other, visit each other, discuss each other- This is an unusually stable world. A world where there is no place for cataclysms and catastrophes, where relationships are simple and clear, where people have enough time to think about and deeply analyze the events that happen to them; where there is a place for feelings, they are important, they are given significant meaning.

Calmly and without tension, she guides the reader through the plot lines of her novels. There is no doubt that Jane Austen is a subtle psychologist of human characters; she is not distracted by detailed descriptions of appearance, interior, nature; inner world a person who is revealed through dialogues between the characters in the novels. Jane Austen looks at the events of the era from her own unique perspective.

Having analyzed the life of the founder of the classic romance novel, you can, through the prism of the irony of the pen, see in her novels real people with whom she had to deal, somewhere even herself, her experiences and problems, between the lines you can see the almost transparent haze of the most hidden corners of her soul, hear whispers of the deepest secrets of her life. She wrote about the sphere of life in which she herself grew up; she knew the problems of the provincials from the inside. At the same time, unlike her predecessors, as E. Baker correctly noted, Austen was not fundamentally a “educational or moralizing” novelist.

The novelist consciously gravitated towards the economical use of artistic and visual means. She strove to express in a few words, without any verbal embellishment, the most important and necessary things. It is characteristic that Austen sought to draw these visual means from the sphere of the everyday reality that surrounded her.

“Her judgments,” writes Kettle, “are always based on actual facts and the aspirations of her heroes. Taken in a broad sense, they are always social. Human happiness in her understanding is by no means an abstract principle.”

The writer's work stands at the origins of English critical realism XIX century. Her literary heritage consists of six novels about the life and morals of the English small nobility and rural clergy. Austen's powers of observation, as her novels show, were unusually acute, but she did not write about everything she knew and saw. She was interested in the psychological background of ordinary, everyday actions in the provincial corners of England. “You can’t even say about a writer like Jane Austen that she is original - she is simple and natural, like nature itself,” wrote one of the most insightful critics G.-K. Chesterton.

Jane Austen is a master of everyday life; she easily depicts characters and faces through the prism of subtle humor and irony. The secret of the enduring popularity of Jane Austen's novels is simple: she, several centuries ahead of her time, wrote about what so deeply worries human minds and souls. Jane Austen wrote about how simple and difficult it is to combine love and prejudice, sincere love and the need to “improve” your financial condition through a successful marriage. Reading any novel by Jane Austen confirms the idea that only someone who himself experienced the struggle of these contradictory principles could portray them so faithfully.

2. THE IMAGE OF THE PROVINCE IN JANE AUSTEN’S NOVEL “PRIDE AND PREJUDICE.”

2.1 The English province is a key element of the artistic space in the novel “Pride and Prejudice”.

The image of the province is not new; it has been present in the works of many authors for centuries, but Jane Austen introduced complex thoughts into it in an accessible presentation , a thorough knowledge of human nature, English humor and love in its purely “feminine” understanding.

Everyday life ordinary people, the little things in the life of provincial existence - this is the artistic space of the novel “Pride and Prejudice”, where Austen, thanks to his subtle wit and brilliant irony, achieves great depth.

The description of the province itself is very laconic and restrained; Jane avoids unnecessary descriptions and unnecessary details, strictly subordinating all elements of the narrative to its main development. She criticizes novels in which "circumstances are introduced that have apparent significance, but which, however, lead nowhere." There were no such circumstances in her novels; in them all the descriptions, all the landscapes are used for further development actions or characters.

There is almost no landscape in the novel: a few lines of description of Rosings and Pemberley. The names of towns and estates are often fictitious, for example, Netherfield Park, Meryton, Hansford, Westerham, etc.

The novel takes place in Longbourn, "the village in which they [the Bennets] lived, and where the Bennet family occupied a prominent position." The name of the village is also fictitious. The Lucases, with whom the Bennetts were on friendly terms, live next door. Nearby, in Netherfield, Mr. Bingley and his sisters and his friend, Mr. Darcy, appear. They visited here occasionally, introducing new topics for the conversations of everyone around them, adding variety to the everyday life of provincial residents.

In her novel, Jane Austen combines the intimacy of depicting the life of provincial English families - “painting miniatures with a thin brush,” as the writer herself defined her artistic style - with an amazing breadth of coverage of life phenomena. Reading the novel, we learn about various aspects of life in England at the turn of the 18th-19th centuries: about the economy, politics, social structure, church, the institution of marriage in those days, about morals, life, manners, clothing. The English province, as a key element of the novel's artistic space, is necessary to characterize that era, for the development of action and for a brighter comic effect.

Austen does not have descriptions of outfits or furnishings in the house, but the reader clearly imagines the place of origin of the actions through the dialogues and caustic comments of the novelist herself.

The small nuances of human relationships are conveyed in great detail, which, together with the fascinating “Old English” dialogues, evokes a feeling of immersion in the atmosphere of the 19th century and in the world of an individual English family. The following dialogues of the characters in the novel “Pride and Prejudice” are interesting:

"The country," said Darcy, "can in general supply but a few subjects for such a study. In a country neighborhood you move in a very confined and unvarying society."

"Yes, indeed," cried Mrs. Bennet, offended by his manner of mentioning a country neighbourhood. "I assure you there is quite as much of that going on in the country as in town."

"I cannot see that London has any great advantage over the country, for my part, except the shops and public places. The country is a vast deal pleasanter, is it not, Mr. Bingley?"

"When I am in the country," he replied, "I never wish to leave it; and when I am in town it is pretty much the same. They have each their advantages, and I can be equally happy in either."

"Aye-that is because you have the right disposition. But that gentleman," looking at Darcy, "seemed to think the country was nothing at all."

One can note the very simple way of life of families in the English province. The man is responsible for the financial support of the family, the inheritance is passed on only through the male line, thus the daughters have only one hope - marriage. What are the female half of England doing? – Attending balls and discussing events taking place in the surrounding area. Reasoning about life is also very simple. “Whoever is interested in dancing, it doesn’t cost anything to fall in love.”

“Ah, if I could see one of my daughters happy mistress of Netherfield,” Mrs. Bennet said to her husband, “and marry the others just as successfully, then I would have nothing more to desire.”

The female half certainly meets after the balls in order to discuss the events that took place at the ball - this is an integral part of their life. They discuss every detail, every word spoken during the dances, and plan further actions to win men’s hearts.

Wherever in the provinces, the problem of marriage is purely a property problem. This is why Austen's characters so often put words like match and fortune next to each other in their conversations. “As to a fortune it is a most eligible match,” notes one of the heroines of the novel “Pride and Prejudice” in connection with the marriage of Mr. Collins and Charlotte Lucas. “It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife” - this is how the first chapter of the novel begins. "Fortune" - i.e. the wealth that a young landowner has the good fortune to possess becomes and should become an object of desire for the environment where he will most likely begin to look for a life partner. Because not only negative characters, but those who sympathize with the writer constantly talk about fortunes, profitable parties and inheritances.

By immersing the reader in the atmosphere of the English province, Jane Austen gives us the opportunity to better understand the actions of the characters in the novel and compare the actions of different layers of the gentry. On every page of the novel Pride and Prejudice, the English countryside is a key backdrop for the development of events.

2.2 Images of the provincial nobility and their role in the novel.

The focus of the novel “Pride and Prejudice” is the private life of the provincial nobility, among which the author identifies people of various property status. The plot of the novel is simple, and the grouping of characters in it is strictly thought out. The provincial family is, as they say, “middle-class”: the father of the family, Mr. Bennet, is of quite noble blood, phlegmatic, prone to a stoically doomed perception of both the life around him and himself; He treats his own wife with particular irony: Mrs. Bennet really cannot boast of either origin, intelligence, or upbringing. The Bennett couple have five daughters: the eldest, Jane and Elizabeth, will become the central heroines of the novel.

The action takes place in a typical English province. Sensational news comes to a small town: one of the richest estates in the area will no longer be empty: it has been rented by a rich young man, a “metropolitan thing” and aristocrat, Mr. Bingley. However, Mr. Bingley does not arrive alone; he is accompanied by his sisters, as well as his friend Mr. Darcy. The action develops around one, at first glance, seemingly trivial conflict: Elizabeth Bennet meets with the aristocrat Darcy. She feels Darcy's disdain for her family, and a prejudice against him is born in her, which is difficult for her to overcome even when mutual feelings are born between people. Darcy, in turn, aware of his superiority (both class and personal) over the provincial gentry, first reveals emphasized arrogance in the presence of Elizabeth, and then, having fallen in love with the girl, overcomes both his pride and his prejudices.

Let us dwell in more detail on the images of the provincial heroes of the novel. J. Austen characterizes human nature in his work as “a combination ... of good and bad.” Her character appears in development, in the unity of the particular and the general, “so unlike anyone else and so similar to others.” This deeply innovative understanding of the nature of character allowed Austen to create psychologically convincing images in the novel Pride and Prejudice.

The main character of the novel, Elizabeth Bennet, is the artistic discovery of Jane Austen. Elizabeth, who grew up in the family of a poor provincial squire, in an environment characterized by petty interests and narrow-mindedness, stands out sharply from the general background. Her mindset can be called analytical. She thinks a lot and seriously, observing the morals of the people around her. However, the writer does not idealize the heroine. Miss Bingley remarks: “There is so much folk complacency in her whole appearance that it is impossible to reconcile herself with it! »

She is poor and suffers from the vulgarity of her family. Living under the same roof with a mother who did not shine with tact and intelligence, and with obnoxious younger sisters, was very painful for Elizabeth. In Elizabeth's character there is no frivolity, a thoughtless pursuit of entertainment, characteristic of her younger sister Lydia. The monotony and monotony of everyday provincial life make any trip that promises a change of impressions, the opportunity to meet new people, so desirable. Therefore, her aunt’s offer to go on a trip with them causes outright delight. “What a delight! What felicity! .

Elizabeth is a heroine with a rich inner life; concrete facts of reality make her think about the imperfections of human nature. She understands well the limitations of her mother, she is antipathetic to the vanity of the priest Collins and the prim arrogance of the rich and noble Lady de Bourg.

In her refusal to marry the priest Collins, the character of Elizabeth is revealed at its best. Her words convince us that before us is a woman who will not go against her feelings, for whom in love and marriage it is not considerations of self-interest or profit that are important.

"Mr. Collins," she says, "is a vain, pompous, narrow-minded, stupid man... The woman who marries him cannot be considered sane." Thus, through her attitude towards Collins, Elizabeth’s character is convincingly revealed, her integrity and uncompromisingness become obvious.

Elizabeth's opposite is her sister Lydia, although they grew up and were raised in the same family. She is the most frivolous of the five daughters of the Bennet family. Lydia is proud of her new military gentlemen, and reproaches Elizabeth for her pickiness in relation to gentlemen. “Jane will soon be our old maid, honestly! She's almost twenty-three already! If I had not been able to get myself a husband before these years, I would have burned with shame.” She just wants to get married, she does not lose herself in thoughts about the similarity of interests, about the inner qualities of people, about who exactly to live with, it seems to her that she doesn’t care with whom, the main thing is that she is married, and before her older sisters.

All her actions are illogical, reckless and short-sighted. Lydia doesn't think about social status and about the ability of the officers to provide her with a decent income, which would be enough to live on. She doesn't care about those around her or her family. This is perfectly confirmed by the fact of her escape with Wickham. Lydia does not think at all about the consequences, and does not think at all about what reputation she creates for the whole family, what example Kitty sets. She doesn't respect family values and does not care at all about the reputation of his family name, disgracing his mother and father with his frivolous behavior, and preventing his sisters from getting married with such fame.

The image of Darcy is revealed in general in less detail than the image of Elizabeth. Austen highlights in this hero, first of all, one leading feature - his pride. “He can be completely different,” says Wickham, “if he finds meaning in it. With those who are equal to him in position in society, he behaves differently than with those who have succeeded in life less than him.”

Darcy is attractive because of his “good fortune” - ten thousand pounds a year. However, in addition, he is the owner of “fine, tall person, handsome features, noble miens” - that is, “a beautiful slender figure, pleasant facial features and aristocratic manners.” However, Mr. Darcy has one significant flaw: he is not at all “agreeable.” Moreover, despite his aristocracy, he has “disagreeable contenance”, that is, “unfriendly manners, unfriendly behavior.”

How is this hostility expressed? The fact is that he danced only two dances with familiar ladies - Mr. Bingley's sisters - and flatly refused to make new acquaintances, both among men and among ladies. He "passed the rest of the evening walking about the room, and from time to time uttering a few words to some of his company." Such unsociability quickly turns everyone's sympathy away from the aristocrat. Darcy, meanwhile, moves from unfriendly to rude. When Mr. Bingley, fascinated by Jane Bennet, notices that Jane's younger sister Elizabeth is left without a partner, he invites his friend to invite Elizabeth. But Mr. Darcy does not share his enthusiasm. Seeing that Elizabeth is close enough to hear their conversation, he nevertheless tells his friend that the second Miss Bennet is “tolerable” - “acceptable”, but nevertheless “not handsome enough to tempt me” - “not good enough for to attract me."

Darcy makes a certain impression on those around him: a proud, arrogant person. This is how he perceives local society at the beginning of the novel: “Darcy, on the contrary, saw around him a crowd of rather ugly and completely tasteless people, in whom he did not feel the slightest interest and from whom he did not notice any attention or affection.” Being in the grip of snobbish prejudices, Darcy managed to separate his friend Bingley from Jane Bennet, believing that the latter, in her own way, social status is an unsuitable match for him."

Despite his negative qualities, Darcy has intelligence, strength of character, and the ability to love. He says the following about himself: “I have enough weaknesses. I just hope my mind is free of them. But I wouldn’t vouch for my character.” The refusal Darcy received from Elizabeth was a difficult test for his pride. A man of an aristocratic upbringing, he did not betray the feelings raging within him. Given his restraint, the most natural way of expressing emotions was not direct dialogue with his chosen one, but correspondence with her.

One of the brightest representatives of the provincial English environment is the image of Mrs. Bennet. “She is frankly stupid, blatantly tactless, extremely narrow-minded and, accordingly, very high opinion about one’s own person, with an unstable mood. When she was dissatisfied with something, she believed that her nerves were not in order. Her only entertainment was visits and news.”

The image of Mrs. Bennet, her narrow-mindedness and primitive thinking are expressed through dialogue in a comic-everyday style. The verbose speeches put into Mrs. Bennet’s mouth objectively parody philistine ideas and interests. They allow us to present in an ironic way the mores of a very specific social environment. Mrs. Bennet is obsessed with only one idea, like all mothers in England at that time - to marry off their five daughters:

“- A young bachelor with an income of four or five thousand a year! Isn’t it a good opportunity for our girls?”

Mrs. Bennet does not understand that she looks stupid and does not feel ridicule, zealously defending her point of view and not seeing the subtext of mockery in her husband’s speeches. Her image is truthful and frank, she always says what she thinks, although not always thinking about the consequences. The final goal is important to her, and it doesn’t matter what sacrifices will be made to achieve it. So, she sends her own daughter, dear Jane, into the rain, risking her health, but benefiting Jane’s soul and heart, because in this way she spends several days in the care of the person dear to her heart - Mr. Bingley.

As for Mr. Bennet, having married a narrow-minded, spiritually undeveloped woman, he, instead of raising her, considered it better to isolate himself - from Mrs. Bennet, from her stupidity, truly unprecedented, and at the same time from the world with its problems - the walls of the library or a newspaper. Disappointed in the family idyll, he sneers at everything, despises everyone around him, including, it seems, himself. Over the years, indifference becomes not only a protective shell, but also second nature for Mr. Bennet, whose existence, in fact, is even more meaningless than his wife, who, although stupid, is not cynical. Even at the beginning of their marriage, Mr. Bennet regretted that behind his wife’s beautiful appearance he did not see the narrowness of her horizons. He acts rudely by ridiculing his wife’s stupidity and ignorance in the presence of his own daughters.

"Almost all of Mr. Bennet's property consisted of an estate generating two thousand pounds a year. Unfortunately for his daughters, this estate was inherited through the male line and, since there was no male child in the family, passed on the death of Mr. Bennet to a distant relative. Funds Mrs. Bennet, sufficient in her present situation, could in no way compensate for the possible loss of the estate in the future. Her father during his lifetime was a solicitor in Meryton, leaving her only four thousand pounds.

That is, if the Bennet young ladies do not find husbands for themselves after the death of their father, they will have to leave their home and live with five of them on Mrs. Bennet’s very limited income. It is not surprising that Mrs. Bennet is nervous and fixated on catching suitors.

The image of Collins is one of the most colorful in the novel. Collins is presented as a smug fool on his first visit to the Bennet house. He is unbearably pompous and verbose. He endlessly praises his own merits and the advantages of his position, the main one of which is the patronage of the wealthy aristocrat Lady Catherine de Bourg. As a preacher in the parish that is part of Lady de Bourg's domain, Collins in every possible way advertises his devotion to her. He is extremely proud that a lady with a title has brought him closer to her: “my humble abode is separated only by a lane from Rosings Park, her Ladyship’s residence.” Characteristically, Collins is by no means a hypocrite. Therefore, Collins' humiliating speech (my humble abode) is a highly typical phenomenon, corresponding to the very essence of his character. Mr. Collins says with respectful delight: “Her behavior to my dear Charlotte,” he continues, “is charming. We dine at Rosings twice every week, and are never allowed to walk home. Her Ladyship"s carriage is regularly ordered for us. I should say, one of her Ladyship"s carriages, for she has several" . He cannot stress enough that Lady de Bourg has not one, but several crews. This elevates him in his own eyes. Distinctive feature Mr. Collins is the need to flatter everyone who is significantly higher than him. He, without hesitation, tells the following about himself: “I have more than once observed to Lady Catherine, that her charming daughter seemed born to be a duchess, and that the most elevated rank... would be adorned by her.”

All of the above allows us to assert that Collins embodied both tendencies characteristic of English snobbery - groveling before superiors and a sense of superiority in relation to everyone else.

Interestingly, the name Collins has become a common noun in the English language, just like the name Dombey or Pickwick. Collins is pomposity, pomposity, sycophancy, intoxication with title and position. The image of Collins is characterized by significantly greater social content than the other characters discussed above. In this regard, humor here ultimately acquires a satirical sound.

Lady Catherine de Bourgh perfectly complements and sets off Collins,

which appears on the pages of the novel twice. Elizabeth meets-

with her when he comes to visit the Collinses. She is struck by the unceremonious

Monstrousness of the mistress of the estate: she considers herself entitled to question

Collins and Elizabeth about any details of their private life, including

hang out and give advice on how to run a household, etc. Another time

Lady de Bourg herself comes to the Bennet house. Now she's pouring on

Elizabeth is a real stream of abuse. She called the rumor about a possible

the rumor of her nephew, Mr. Darcy, and Elizabeth a vile invention, for-

thereby using threats and insults against Elizabeth and her

relatives. The authoritative and peremptory tone of her speech, the choice itself

words like the upstart, retentions of a young woman without family, connections, or fortune testify not only to hostility towards Elizabeth, but also to the rudeness and unceremoniousness of this high-born lady.

The images of the heroes of the novel “Pride and Prejudice” bear traces of the influence of those mores and the morality that were dominant among the provincial classes of England at that time. We still see images of Osten’s heroes today, recognizing their speech or manner of behavior in people around us and acquaintances.

2. 3 The influence of the social environment on the formation of the characters of the heroes of the novel “Pride and Prejudice”

Whichever strong personality was not a person, the social environment dictates its own principles and rules. Based on the degree of activity of the speakers and their role during the conversation, the reader can get an idea of ​​the social affiliation of the interlocutors, the essence of the relationship between them, since each person’s speech reflects his social consciousness. The topics of conversation are usually determined by the interlocutors, who in the novel represent the social “tops”. They have a “monopoly” in the conversation. Those who are dependent on their whim and favor due to their “low” origin adapt to these people. In conversations, they learn to “keep their distance.” .

Those who have a sense of pride and self-esteem do not stoop to ingratiation and flattery. But their relatively low social position often condemns them to the role of passive listeners or, conversely, forces them to speak when they want to remain silent.

In the psychologically and socially conditioned speech of the heroes, Austen highlights another important mental and spiritual phenomenon: their desire for self-affirmation. It is expressed, first of all, in the straightforward statements of the heroes about themselves and their affairs. In the speeches of people, not only those who are accustomed to the consciousness of their social superiority (Mr. Bingley and Darcy), but also those who grew up in an atmosphere of social humiliation (Mr. Collins, Mrs. Bennet), self-characterization is repeated more than once, full of complacency and exaggerated assessment of your personality. Miss Bingley’s review of local society is indicative: “They go out of their way to show off! There is so much insignificance and at the same time complacency in these people.”

Those same characters who, by their position in society, are above ordinary provincials, emphasize this difference at every opportunity. Among not very rich provincials, Darcy clearly feels like a person of the highest rank: “Mr. Darcy,” we read in the novel, “danced once each with Mrs. Hearst and Miss Bingley and did not want to be introduced to the other ladies.” Simply because he considers it beneath his dignity.

Darcy’s behavior outrages the entire local audience, his pride, pompousness and sense of self-superiority are clearly reflected in his next dialogue with Bingley, when he replies: “...Your sisters are invited, and besides them, there is not a single woman in the hall with whom you cannot dance.” It would be a real punishment for me." Although Darcy and Bingley come from the same environment, despite the established mentality of this “top of society,” their behavior is radically different, it’s just a phenomenon, how can they be so radically opposed to provincial society! If Mr Bingley finds interesting society girls without an inheritance, has sincere feelings for Jane, then Darcy challenges everyone present; he considers it humiliating to dance with Elizabeth only due to social and property prejudices.

Along with those who relentlessly follow social prejudices and the general opinion that they belong to a lower social class, there is also the exact opposite image of Elizabeth Bennet. She directly points out to people their shortcomings, ridicules them, cutting off all their principles and foundations.

Throughout the novel, class differentiation is evident, and all vices are attributed to origin, which to some extent is naturally true, but, on the other hand, a lot depends on how a person develops himself, what conclusions he is able to draw from the events that have occurred .

In the novel “Pride and Prejudice,” through the prism of the relationships between the Bennet, Bingley, Darcy, Collins, and Lucas families, we can observe traditions and morals typical of Austen’s contemporaries and judge the life of the English province. The main problems are problems of a material nature, against the background of which we evaluate the behavior of the characters, analyze their actions, their motives.

Re-reading “Pride and Prejudice”, you think more and more about the subtext, about what Austen did not lay out on the surface, veiling the motives of her characters’ behavior. And the understanding that behind the words and actions of the characters is an established mentality, a way of thinking, and certain spiritual values ​​is becoming more and more clear between the lines.

3. Stylistic means of revealing characters in Jane Austen’s novel “Pride and Prejudice”

A study of Jane Austen's stylistic mastery shows that her extraordinary talent allowed her to create a work that, both in theme and in its entire structure, is a great and important event in the development of English realistic prose. Jane Austen's skillful stylistic skill creates a very vivid, very reliable picture of the morals, way of life, and life of a small provincial society.

N.M. Demurova noted that Jane Austen significantly expanded

la and enriched the method of “humors” characteristic of classicism, rejecting

having abandoned the division of heroes into villains, victims and reasoners.

Having thus noted Austen's characteristic realistic vision

characters, N.M. Demurova showed how it is embodied in the novel on

stylistic level. She, for example, believes that one of the innovative

one of J. Austin's techniques was the use of improperly direct re-

For example, Elizabeth’s initially hostile attitude towards Darcy gradually transforms into completely different feelings, and her internal and improperly direct speech, intertwined with the author’s narration, allows us to trace all the shades of this evolution. Thus, Elizabeth’s first reaction to everything she saw in Pemberley was expressed in her internal remark “And of this place,” she thought, “I might have been mistress!” This involuntary regret is replaced by a phrase in which she reminds herself: “...that could never be; my uncle and aunt would have been lost to me; I should not have been allowed to invite them." Her speech here indicates not so much regret about a missed opportunity in the past, but rather the complete impossibility for her of marrying such a snob who would not allow her to accept her relatives. But then, listening to Darcy's housekeeper, looking at his portrait, she begins to understand the scale of his personality. Each phrase in her internal monologue, marked with an exclamation mark, reveals her inner excitement, a gradual change in her assessments: “What praise is more valuable than the praise of an intelligent servant? As a brother, a landlord, a master, she considered how many people"s happiness were in his guardianship! How much of pleasure or pain it was in his power to bestow! How much of good or evil must be done by him!” .

Widely using improperly direct speech, Jane Austen

allows you to see the inner world of heroes in their most moments

strong emotional experiences and emotions. So, a series of short questions

corporal and exclamatory sentences spoken by Elizabeth

"to myself" after an unexpected meeting with Darcy at Pemberley, wonderful

conveys her excitement at this moment: “Her coming there was the

most unfortunate, the most ill-judged thing in the world! How strange must it

appear to him! In what a disgraceful light might it not strike so vain a man! It

might seem as if she had purposely thrown herself in his way again! Oh!

Why did she come? Or, why did he thus come a day before he was expected?

Austen was new not only in the multifaceted portraits she created of ordinary people against the backdrop of a social environment known to her down to the smallest manifestations, but also in the very language of her novel, an artistic system unique in its originality. The novelist's style has not yet been subjected to comprehensive analysis.

Unlike her predecessors and contemporaries, Austen strives, whenever possible, for an objective interpretation of life, preferring their direct depiction to stories about people, and this is one of the peculiar features of her style. The artist reveals the human essence mainly through the depiction of verbal communication between people. A very significant feature of Jane Austen’s poetics was noticed by T.A. Amelina. She writes: “The artist reveals the human essence mainly through the depiction of verbal communication between people, that is, direct and dialogical speech.”

“Well, listen, my dear,” continued Mrs. Bennet. - Netherfield, according to Mrs. Long, was taken by a very rich young man from the North of England.

What's his name?

Is he married or single?

Single, dear, that's the point, single! A young bachelor with an income of four or five thousand a year! Isn't it a good opportunity for our girls?

How so? Does this have anything to do with them?

“Dear Mr. Bennet,” replied his wife, “you are simply unbearable today.” Of course, you understand that I mean his marriage to one of them.”

Austen's dialogue reveals characters, individual life experience, culture, way of thinking of each character; it reflects the contradictions and dialectical processes of private life. By forcing the characters to talk about the subject of their mental, business, and everyday interests, the writer always penetrates into the most intimate motives hidden in the depths of the objective conditioning of statements. The psychologically determined speech of Austen's heroes is always reproduced as a manifestation of their historically determined consciousness. Thus, the entire social background and the depicted social phenomena appear with great artistic power and specificity.

“Isn’t it true, what a wonderful entertainment this is for young people, Mr. Darcy! Really, could there be anything more enjoyable than dancing? I find that dancing is one of the highest achievements of civilized society.

Quite right, sir. And at the same time, they are very common in a society untouched by civilization. Every savage can dance." .

Jane Austen, without any special authorial pressure, using mainly the means of linguistic characterization, which always includes vocabulary, syntactic structure, style, and intonation individual for each character’s speech, achieves a comprehensive disclosure of the characters. Individualization of language characters Austen also serves as a means of typification, with the help of which she characterizes people of a certain social appearance, mentality, psychology, exposing socially determined human vices.

For example, Mr. Collins. The base essence of his nature makes itself felt most of all during the most difficult period for the Bennet family: during the flight of Lydia with Wickham. Collins sends them a letter of “condolence.” The lexical composition of this letter is represented by sublime literary vocabulary: respectable family, present distress of the bitterest kind, the death as a blessing, augmented satisfaction, involved in disgrace, etc., behind which is hidden hypocritical sympathy in the grief that befell the respectable family, as well as and a great deal of schadenfreude and self-satisfaction in the knowledge that, having been rejected by Elizabeth and married to Charlotte Lucas, he was now freed from having to share the shame of the Bennet family. .

The statements of heroes who strive to enrich themselves with reading and have a balanced character and the ability to think logically are distinguished by harmony and completeness. This is typical of Mr. Darcy's speech, Elizabeth Bennet. The speech of heroes who think inconsistently and do not feel the need for enlightenment is as disordered and confused as their thoughts. This is the speech of Mrs. Bennet and Lydia Bennet.

The comic character - Mrs. Bennet - is a very impulsive and impatient creature. The essence of her character is perfectly revealed by each of her remarks. The lexical and syntactic composition of her dialogue is always simple: words from everyday use, abrupt exclamations and interrogative sentences that reveal the heroine’s vanity, her ineradicable curiosity: “Well, Jane, who is it from?” What is it about? What does he say? Well, Jane, make haste and tell us, make haste, my Love."

In depicting the character of Mrs. Bennet, J. Austen effectively uses

uses the dramatization of the narrative, i.e., it gives the opportunity to self-

statements to the character. For example, she calls Darcy

disagreeable, i.e. an unpleasant subject, and remains sincere in his

dislike for him: “I am quite sorry Lizzy, that you should be forced to have

that disagreeable man all to yourself; but I hope you won't mind. It is all for

Jane sake." But at the end of the same chapter it breaks through in a flood

enthusiastic cries: “...Mr. Darcy! Who would have thought it? And is it

really true? Oh my sweetest Lizzy! How rich and how great you will be!

What pin-money, what jewels, what carriages you will have! Jane's is nothing

to it – at all. I am so pleased - so happy." These exclamations are not

less sincere than what she said about Darcy earlier, although

they are opposite in meaning. This change of assessments in the speech part

Mrs. Bennet creates a visible image of a truly comic heroine.

But there are characters in the novel who are not outlined in soft comic terms.

our strokes, but truly satirical. Unlike the main characters

mana, who are constantly learning to better understand themselves and each other,

who sincerely experience their mistakes and shortcomings, comically

Chinese and, in particular, satirical characters do not undergo any

changes in its development.

In “Pride and Prejudice” the following compositional techniques are used:

principles of a realistic novel, as a complex system of characters,

a complex subjective organization of the text, in which the dominant role belongs to the impersonal narration, but where each character, not only the main one, but also the secondary one, thanks to dramatization and the inclusion of improperly direct speech, gets the opportunity to express himself as if independently.

For the first time in the history of English literature, works of prose are marked by such an obvious predominance of indirect means of characterizing reality. The main functions of indirect analysis and generalization of phenomena are assigned to dialogue, which in this case became the basis of poetics. It is not for nothing that Jane Austen is called a master of dialogue, because through direct speech, peculiarities of expressions and phrases, and the semantics of sentences, the author paints for us the life that was so close and familiar to her.

CONCLUSIONS

Drawing parallels between the work of Jane Austen and her biography, our study deeply reveals the influence of the province in which the writer grew up on the formation of her worldview and creativity, and also revealed the correspondence between the content of her novel “Pride and Prejudice” and the events that took place in her life Osten herself. Therefore, it is natural that the actions in the novel “Pride and Prejudice” develop among provincial English families. In the images of her heroes you can see individual character traits of the people around her.

The study analyzed the image of provincial England of the late 18th - early 19th centuries as a key element of the artistic space in the novel “Pride and Prejudice”. The writer chose the artistic space in which she lived. Thus, the novel achieves a realistic depiction of the morals, way of life and life of a small provincial society. Concentrating on the ordinary, everyday, Austen reveals to us with all authenticity the life of her generation. Thus, the entire social background and the depicted social phenomena appear with great artistic power and specificity. The image of the province in the novel is seen as an important characteristic of the lifestyle and morality of the English provincial nobles. Based on the foregoing, it follows that the novel is of historical value, since it is a kind of encyclopedia of provincial life in England at the end of the 18th and beginning of the 19th centuries.

Having examined in the work the mental priorities and stereotypes of the provincial English environment, we can draw a conclusion about the social and property differences that dominated within the class of provincial nobles in England at the end of the 18th - beginning of the 19th centuries. Due to the fact that the characters in the novel are viewed from the angle of property interests, one can identify such characteristic features of provincial heroes as limited interests, pompousness, unprincipledness, sycophancy, selfishness, self-interest, and immorality. The novel clearly outlines the range of problems that plague the society of English provincials and aptly notes their shortcomings, among which snobbery stands out most clearly.

The images of the heroes of the novel “Pride and Prejudice” bear traces of the influence of those mores and the morality that were dominant among the provincial classes of England at that time. Thus, we can talk about the influence of the social environment on the character of the characters in the novel “Pride and Prejudice”.

An analysis of the mechanism of functioning of stylistic devices showed that with their help Jane Austen was able to create living, full-blooded characters of the heroes of the novel “Pride and Prejudice”. For example, one of J. Austin's innovative techniques was the use of improperly direct speech. For the first time in English literature, the dialogue developed by Austen, which reveals the behavior of the characters, their psychology, and moral character, becomes the basis of poetics, a means of expressing the author’s point of view.

The analysis of the image of the province in Jane Austen’s novel “Pride and Prejudice” is a voluminous and meaningful, constructive and logically consistent philological research work, the results of which can subsequently be used to write a thesis.

LIST OF REFERENCES USED

1. Amelina T.A. Dialogue in Jane Austen's novels // Belsky A.A. – English novel of 1800-1810: Textbook for a special course for students of philology. fak. /A.A. Belsky; Editorial team: M.A. Gennel (chief ed.) and others; Perm State University named after. A.M. Gorky - Perm: PSU, 1968. - 32 p.

2. English literature, 1945-1980 / [A. P. Sarukhanyan, G. A. Andzhaparidze, G. V. Anikin, etc.] ; Rep. ed. A. P. Sarukhanyan; Academician Sciences of the USSR; Institute of World Lit. them. A. M. Gorky. - M.: Nauka, 1987. - 510 p.

3. Anikin G.V. History of English literature: [Textbook for students of pedagogy. in-tov i fak. foreign language specialty No. 2103 "Foreign language"] / G.V. Anikin, N.P. Mikhalskaya. - 2nd ed. - M.: Higher School, 1985. - 431 p.

4. Artemenko O.E. Semantics of lexical interpretations in the language of Jane Austen's novel "Pride and Caution" and their translations into Russian: Author's abstract. dis. for the job application scientist step. Ph.D. Philol. Sciences (10.02.19) / Kuban. state univ. - Krasnodar, 2003. - 21 p.

5. Bazyleva O. Thank you J. Osten // Book. Review. - 2006. - No. 38. – p. 45-60.

6. Belsky A. A. English novel of 1800-1810: Textbook. manual for a special course for students of philology. fak. / A. A. Belsky; Editorial team: M. A. Genkel (chief editor) and others; Perm. state University named after A. M. Gorky. - Perm: B. i., 1968. - 333 p.

7. Woolf V. Jane Austen // Foreign novel. Problems of method and genre: Interuniversity collection of scientific works/Perm State University named after. A.M. Gorky - Perm: PSU, 1982. -

8. Genieva E.Yu. Jane Austen: Bible. Decree. /Ans. ed. M.V. Chechetko. – M.: Publishing House, 1986. – p. 57

9. Davydova T.T. Theory of literature: Textbook. manual for specialties 021500 - Ed. business and editing, 021600 - Book distribution / T. T. Davydova, V. A. Pronin. - M.: Logos, 2003. - 232 p.

10. Demurova N. Jane Austen’s novel “Pride and Prejudice.”
In the book: J. Austen. Pride and Prejudice. Foreign Languages ​​Publishing
House, M., 1961, p. 27

11. Dyakonova N.Ya. English Romanticism: Probl. aesthetics / N. Ya. Dyakonova; Rep. ed. M. P. Alekseev; Academician Sciences of the USSR. - M.: Nauka, 1978. - 206 p.

12. Ivasheva V.V. English realistic novel XIX century in its modern sound / V. V. Ivasheva. - M.: Artist. lit., 1974. - 464 p.

13. Ivasheva V.V. "The present century and the past...": English. 19th century novel in his modern sound / V. Ivasheva. - 2nd ed. - M.: Artist. lit., 1990. – 477 p.

14. Ivasheva V.V. Fates English writers: Dialogues yesterday and today / V.V. Ivasheva. - M.: Sov. writer, 1989. - 443, p. 120-145.

15. Klimenko E.I. English literature first half of the 19th century century: (Essay on development) / E. I. Klimenko; Leningr. state University named after A. A. Zhdanova. - L.: Publishing house Leningr. University, 1971. - 144 p.

16. Kettle A. Introduction to the history of the English novel: Trans. from English / A. Kettle; Preface V. Ivasheva; Note V. Skorodenko. - M.: Progress, 1966. - 446 p.

17. Leonova N.I. English literature 1890-1960: Textbook. English manual language for the humanities fak. universities and schools with in-depth study of English. language / N.I. Leonova, G.I. Nikitina. - 2nd ed. - M.: Flinta: Nauka, 2000. - 254 p.

17. Nabokov V.V. Jane Austen. – In the book: Nabokov V.V. Lectures on foreign literature. M., 1998. – 259 p.

18. Guide to English Literature//ed. M. Drabble and J. Stringoff. – M.: Raduga, 2003. – 275 p.

19. Strukova E. Grand ladies of a love story: Touches to creative biography Jane Austen.//Book. Review. – 1999- No. 30, p. 27-33.

20. Timofeev L.P. - Fundamentals of literary theory. M., 1971. – 372 p.

21. Tomashevsky B.V. Literary theory; Poetics: Textbook. manual for university students, teaching. according to special "Philology" and "Literary Studies" / B.V. Tomashevsky; Entry Art. N.D. Tamarchenko. - M.: Aspect, 1999. - 334 p.

22. Welleck R. Theory of Literature / R. Welleck, O. Warren; Entry Art. A. A. Aniksta; Per. from English A. Zvereva and others - M.: Progress, 1978. - 324 p.

23. Fesenko E. Ya. Theory of literature [Text]: textbook. allowance. for university students studying in specialty 032900 "Russian and Literary." / E. Ya. Fesenko; Pomeranian state University named after M. V. Lomonosov. - Ed. 3rd. - M.: Mir: Academic Project, 2008. - 780 p.

24. Khalizev V.E. Theory of literature: Textbook. for university students / V. E. Khalizev. - 3rd ed. - M.: Higher. school, 2002. - 437 p.

25. Jane Austen. Pride and Prejudice. – Pravda Publishing House, 1989. – 380 p.

26. Bradbrook Frank W. – Jane Austen a. Her Predecessors. – Cambr. Univ., 1967, p. 150.

28. Lits Walton-Jane Austen-L, 1965, p. 35.

29. J. Austen Pride and Prejudice. Foreign Languages ​​Publishing House, M., p. 356

Grebennikova Alina Olegovna

Jane Austen's style is quite restrained. She avoids the use of colorful descriptive devices; There are practically no descriptions of the landscape or appearance. We mainly learn about the characters' characters from dialogues. The work reflects many biographical moments of the writer. The two translations of the novel are quite different. Jane Austen used a sufficient number of linguistic means that do not have an exact translation into Russian. That is why the translators, each in their own way, reflected the author’s style and the meaning of the work.

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Introduction........................................................................ ........................... 3-4

1. Theoretical part:

1.1 Reflection of biographical moments of J. Austen in the novel “Pride and Prejudice”……………………… ……………………………………………………….. 5-6

1.2 Place of Jane Austen’s work in the literature of the late 18th – early 19th

centuries……………………………………………………………………………………… 7-8

2. Practical part:

2.1 Linguistic features of the novel ………………………………………… 9

2.2 Characters of heroes through the prism of linguistic means…………...………10-12

novel…………………………………………………………………………………..… 13-15

Conclusion …………………………………………...………………………. 16

References………………………………………………………… 17

Introduction

Jane Austen is a great English writer of the 18th century, one of the founders of everyday realism. Her novels like Sense and Sensibility, Northanger Abbey, Persuasion and, of course, Pride and Prejudice still touch the hearts of readers. These works have not only literary, but also historical value, since Jane Austen so vividly and at the same time truthfully showed in her novels the life and customs of people of the 18th century. She focused attention on the subtle, but undoubtedly important: the character of a person and used various stylistic means to achieve this.

Relevance: The project simultaneously analyzes two aspects: the text of the original and translations that correspond to the language standards of the late 19th century and the 20th-21st centuries, since a full assessment has not yet been reflected in Russian translations.

Problem: Can research help us understand the worldview of 18th century man?

Object of study:Jane Austen's novel "Pride and Prejudice"; translation of this novel into Russian by I.S. Marshak (“Pride and Prejudice”) and I.G. Gurova ("Pride and Arrogance")

Subject of research:Stylistic devices and their translations into Russian

Target of this project is to analyze and describe the dependence of the characters’ characters using basic stylistic expressive means English language on the example of Jane Austen's work "Pride and Prejudice" and their translations into Russian

Tasks:

1. analyze the stylistic means of the English language in the novel by J. Austen

"Pride and Prejudice"

2. establish the dependence of the character of the characters on his speech

3. establish the features of the stylistic means of this novel in the speech of the characters depending on various factors

4. analyze and compare two translations of the stylistic features of this novel

Hypothesis: If I study the linguistic features of the novel Pride and Prejudice, I can appreciate the style of Jane Austen's works.

Novelty project to compare the languages ​​and stylistic means of two translations of the novel, the authors of which have different worldviews and literary styles.

Methods:

1. Theoretical research methods: analysis, synthesis, comparison used for information processing

2. Empirical research methods: studying the work "Pride and Prejudice"

Practical significance:

The results of the study can be used in lessons on the history of English literature and foreign novels, as well as in lessons dedicated to English writers of the 19th century.

On defense a comparative description of two translations of “Pride and Prejudice” is made: S. Ya. Marshak and I. G. Gurova and the product of the project - table

1. Theoretical part

1.1 Reflection of biographical moments of J. Austen in the novel “Pride” and prejudice»

Jane Austen is an English novelist, famous for her witty and insightful portrayal of provincial society, a classic of English and world literature, and the founder of the family novel.

Jane was born on December 16, 1775 in Steventon (Hampshire, England), in the family of a rural pastor. Besides her, there were six more brothers and a sister in the family. Due to lack of funds, Jane was unable to receive a systematic education, but, possessing remarkable talent and strong will, an open and cheerful character, she did a lot of self-education, read and, together with her brothers and sister, analyzed what she read, writing everything down in notebooks. In the family of a rural priest, they not only read the Bible and spiritual books, but also performed performances - charades, jokes and skits, read novels and argued about what they read, enthusiastically and carefully listening to the opinion of Jane, who could grasp the essence of the book she had read in two or three words and with an indescribable sense of humor in their faces, retell several scenes of the novel from memory. At the age of fourteen, Jane Austen wrote Love and Friendship, her first parody of 18th century didactic novels with dull and overly sentimental characters.

Her six novels are considered the most famous: “Sense and Sensibility” (1812), “Pride and Prejudice” (1813), “Mansfield Park” (1814), “Emma” (1816), “Northanger Abbey” (1818), “ Arguments of Reason" (1818). But the most beloved by many readers is Pride and Prejudice.

Pride and Prejudice is one of the most famous English novels. This is Jane Austen's undisputed masterpiece. She's here for the first time

has complete control over his preferences and capabilities; moralizing

considerations do not intrude into the analysis and characterization of characters; the plot gives scope to her sense of the comic and the author's sympathies. “Pride and Prejudice” is a novel about the hunt for suitors, and this theme is illuminated by the author from all sides and explored in all outcomes - comic, ordinary, emotional, practical, hopeless, romantic, common sense and even (in the case of Mr. Bennet) tragic.

A large number of biographical moments in Jane Austen's life are reflected in this novel. Jane had a fairly large and friendly family. The Bennett family is one of the largest in the area; Parents and children love each other, although they do not always agree with each other. Jane was witty and cheerful. These character traits also exist in main character Elizabeth. Jane's older sister, Cassandra Austen,

was a kind, pleasant person; the sisters were close friends. Elizabeth's older sister, Jane Bennet, was sincere, bright and they were also best friends. Most of the heroes of this novel had prototypes from real life Osten: it was family, friends, acquaintances and neighbors.

The writer died on July 18, 1817 in Winchester, where she went to be treated for Addison's disease. She was buried in Winchester Cathedral.

1.2 Place of the work of J. Austen in the literature of the late 18th - early 19th centuries

One of the earliest and most devoted admirers of her talent was Walter Scott. Shortly after her death, he writes in his diary (March 14, 1826): “Again, for at least the third time, I re-read Miss Austen’s superbly written novel, Pride and Prejudice.” This young lady has a talent for reproducing the events, feelings and characters of everyday life, the most remarkable talent I have ever met. I write about profound and lofty matters with the same ease as anyone else in our time; but I have not been given that amazing gift which, thanks to the fidelity of feeling and description, makes even the most ordinary and ordinary events and characters fascinating. What a pity that such a talented creature died so early!”

Austen admired the works famous philosopher J. G. Lewis. He writes that he “would much rather be the author of Pride and Prejudice than any of Walter Scott’s novels.” He shares the point of view of T.B. Macaulay and A. Tennyson that Jane Austen is Shakespeare writing in prose.

R. Southey wrote that in the novels of Jane Austen “there is more fidelity to nature, and, it seems to me, more subtle feeling than in any other work of her century.”

There were also opponents of Jane Austen. The most famous of them are W. Wordsworth, T. Carlyle and Charlotte Bronte.

Wordsworth wrote that Jane Austen's novel contains "the truth of life, not illuminated by the all-penetrating light of the imagination." T. Carlyle contemptuously called the novel “dish-washing”. Charlotte Bronte accused Austen of lacking genuine feelings. Brontë, who read Pride and Prejudice on the advice of her teacher, J. G. Lewis, does not understand his enthusiasm. “And what did I find there? - she writes, - Exact... image

a banal face, a carefully fenced off, well-kept garden with smooth borders and delicate flowers; not a single bright, breathing face, no open spaces, no blue mountains, no silvery streams.”

Attitudes towards Jane Austen's work have always been ambiguous. That is why her works remain popular to this day.

2. Practical part

2.1 Linguistic features of Jane Austen’s novel

The structure of the novel is precise and harmonious. Austen's style is restrained and laconic. She avoids unnecessary descriptions and scenes, unnecessary details and characters, strictly subordinating all elements of the narrative to its main development. She quickly brings the reader right into the action.

Jane Austen avoids the use of figurative epithets, metaphors, similes and other descriptive devices. If she uses them, they are extremely simple: “handsome”, “pretty”, “fine”. Jane Austen's attention is focused on the inner, hidden, defining character, and not on the external details of the portrait.

Jane uses dialogue to characterize her characters. The technique of indirect characterization of this kind is of paramount importance for Jane Austen’s novels. In dialogue speech, certain properties of their nature are manifested; through it we understand the characters’ personalities and their attitude towards something.

If Austen describes the character in detail, then she does it for humorous purposes. This is the description of Lady de Bourgh and Mr. Collins.

All works of Jane Austen are marked by the most subtle and pervasive irony. It colors all events, all characteristics, all thoughts in completely special tones.

Many writers and critics admired this writer and her special style. In an article dedicated to Jane Austen, W. Scott admires her “power of narration, extraordinary precision and clarity, simple and at the same time comic dialogue, in which the interlocutors reveal their characters, as in a real drama.” T.B. Macaulay compares Jane Austen's style with that of Shakespeare: "In his power of creating and enlivening characters, Shakespeare truly found in Jane Austen a younger sister."

2.2 Characters of heroes through the prism of linguistic means

“Jane Austen, a magnificent psychologist and writer of everyday life, is a deeply sober and realistic artist. Her thought penetrates into the hidden reasons for actions, which she points out without further ado,” wrote N. Demurova in her article about Jane Austen. And she's absolutely right. Jane Austen was one of the first to create realistic characters and she did it very well.

All the characters in this novel can be divided into two groups. The first is Elizabeth and Mr. Darcy. They were able to overcome themselves and change their attitude towards each other. The second group is all the other characters. Their actions are typical throughout the book. Most of these characters are ironic and comical.

To describe the characters of the second group, Jane Austen uses the method of identifying a dominant feature. For example, Mr. Bennet personifies irony, Mrs. Bennet - frivolity, Lydia - coquetry, Mr. Collins - veneration, Lady de Bourgh - arrogance.

Mr. Bennet loved to laugh at his wife and her character. This can be understood from their conversations: “You take delight in vexing me. You have no compassion on my poor nerves.” “You mistake me, my dear. I have a high respect for your nerves. They are my old friends. I have heard you mention them with consideration these twenty years at least” (“You take pleasure in tormenting me. Of course, you have nothing to do with my frayed nerves.” “You are mistaken, my dear. I have long been accustomed to taking them into account. After all, they - my old friends. It’s not for nothing that you’ve been talking to me about them for at least twenty years.” As Austen herself writes, “Mr. Bennet was so odd a mixture of quick parts, sarcastic humor, reserve, and capice, that the experience of three-and-twenty years had been insufficient to make his wife understand his character.” and a penchant for irony, isolation and eccentricity, what a twenty-three

Years life together his wife still hasn’t managed to get used to him”).

Mrs. Bennet is a typical 18th century provincial lady. She was a narrow-minded, frivolous woman who always complained about her fate: “She was a woman of mean understanding, little information, and uncertain temper. When she was discounted, she fancied herself nervous. The business of her life was to get her daughters married; her solace was visiting and news” (“She was an ignorant woman with insufficient intelligence and an unstable mood. When she was dissatisfied with something, she believed that her nerves were not in order. The goal of her life was to marry off her daughters. Her only entertainment there were visits and news").

Mr. Collins is a talkative, annoying young man. We understand this already when the Bennett family first meets him: “... Mr. Collins seemed … not inclined to be silent himself. His air was grave and stately, and his manners were very formal.” (“...Mr. Collins... was not taciturn. He turned out to be... a young man of important appearance and respectable manners.”) He was also quite pragmatic and decided to immediately establish relations with his relatives, whose estate could go to him: “He had not been long seated before he compliment Mrs. Bennet on having so fine family of daughters.” (“Without even a few minutes of acquaintance, he already complimented Mrs. Bennet on the extraordinary beauty of her daughters”). The house was examined and praised: “The hall, the dinning-room, and all its furniture, were examined and praised.” (“The living room, the dining room, the furnishings - everything was carefully examined and received high praise.”) He sincerely respected people above him in rank. For example, he immensely admired his patron Lady de Bourgh: “This subject elevated him to more than the usual solemnity of manner, and with a most important aspect he protested that he had never in his life witnessed such behavior in a person of rank – such affability and condescension, as

he had himself experienced from Lady Catherine.” (This topic [about Lady de Bourgh] made his style unusually pompous even for himself. With complete conviction, he declared that in his entire life he had never seen such behavior from high-ranking persons - such condescension and favor with which Lady Catherine treated him ").

Lady de Bourgh was not quite as Mr. Collins described her. She clearly showed her character when visiting the Bennet family when she thought that Mr. Darcy might marry Elizabeth. Catherine de Bourgh turned out to be an arrogant, arrogant person who considers herself above everything: “She entered the room the an air more than usually ungracious, made no other reply to Elizabeth's salutation than a slight inclination of the head, and sat down without saying a word ” (“Entering the room with a more unceremonious air than usual, Lady Catherine did not answer Elizabeth’s greeting with anything other than a slight nod and, without saying a word, sat down in an armchair”). She couldn't stand it when things weren't done the way she wanted. When she learned of Mr. Darcy's engagement to Elizabeth, she stopped communicating with her nephew.

The characters of the heroes of the first group are much more complex. On a superficial reading of the book, it may seem that Elizabeth embodies prejudice and Mr. Darcy embodies pride. To some extent this is true, but the inner world of these heroes is deeper. And this proves that they were able to change for the sake of true love.

These two heroes have many similarities. They are smart, well-read, have a subtle sense of humor; both had a fairly good upbringing. They know how to sincerely feel: to love and be friends. There are also not very significant differences. Darcy is more constrained and reserved, while Elizabeth is a little more stubborn. But they were both able to accept each other for who they really were, and in the end, they made a great family.

2.3 Comparative analysis of stylistic devices in two translations

novel

“Translations played an important role in the formation and development of many national languages ​​and literatures. Often translated works preceded the appearance of the original ones, developing new language and literary forms, brought up wide circles readers. The languages ​​and literature of Western European countries owe a lot to translations from classical languages... Many outstanding Russian writers and public figures also paid great attention to translation. The social significance of translation activities was emphasized by A.S. Pushkin, who called translators “post horses of enlightenment,” wrote V. N. Komissarov.

Every translator faces a rather difficult task, because it is necessary not only to translate the text, but to preserve the author’s style.

The differences in the translations of I.S. Marshak and I.G. Gurova begin with the first sentence:

Jane Austen in this sentence used an inversion of the familiar expression “a universally acknowledged truth" is not accidental. With this, she focused her attention on this proposal.

Mr. Bennet said this phrase to his wife. He didn't want to offend any of his daughters, and that's why he said it so carefully. Literally, this phrase translates as “Lizzie had a little more intelligence,” but in order to preserve Austen’s special style, the translators had to slightly change the meaning and make the phrase more beautiful and sophisticated.

These phrases do not have an exact translation into Russian. Both translators offered expressions with similar meanings.

Elizabeth spoke these words to her sister Jane.

This phrase literally translates as “but was not convinced.” Russian-speaking readers, unlike English-speaking ones, would not understand what we are talking about. The translators had to replace it with more understandable phrases that still preserve Austen's style.

Using these few examples, we can see how different the translations of I.S. Marshak and I.G. Gurova are. Marshak writes more simply, accessible to the reader, and Gurova fully preserves Austen’s special ironic style. This can be explained by the fact that Marshak did not receive a philological education (he was a physicist by profession) and the knowledge of translation was passed on to him by his father, S.Ya. Marshak. Irina Gurova graduated from the Faculty of Philology of Moscow State University and devoted her entire life to the English language; She has many translations of classical literature to her credit. But, undoubtedly, both translations are loved by many readers.

Conclusion

Jane Austen is one of the most famous writers in England.She has many followers and many opponents were and are now. She influenced the work of many writers, as she was one of the first realist writers. Also, she is called the ancestor of the so-called “ladies' romance.”

After conducting research, we became convinced that for Austen’s heroes their speech is important. Everyone has their own special manner of speech, based on thinking, upbringing, and education. The characters' characters are revealed through dialogues.The writer practically did not use descriptions of the landscape or the appearance of the characters. In the entire work, the most important thing is the process of character formation and the inner world of a person, and not his external attributes.

Features of the Austen style arerestraint and irony. Jane does not use colorful epithets or metaphors, but this does not make the work any poorer.

Austen depicts the everyday life of people. As E. Genieva notes: “The world of Jane Austen’s novels is the world of ordinary men and ordinary women: young “district” girls dreaming of marriage, chasing an inheritance, respectable matrons who are not at all brilliant in their intelligence, selfish and selfish beauties who think that they are allowed to control the destinies of other people.” Most of the episodes in the work are based on personal experience writers.

The works of Jane Austen are included in the compulsory curriculum in schools and universities around the world. She managed with a small amount of money artistic expression, to reach the hearts of readers.

List of used literature

1. Biography of Jane Austen URL: http://jane-austen.ru/zhizn-jain-ostin/biografia-jain-ostin

2. Genieva E.: The Miracle of Jane Austen URL: http://bookre.org/reader?file=114732

3. Jane Austen “Pride and Arrogance” // translation by I.G. Gurova // Komsomolskaya Pravda. – 2007.

4. Jane Austen “Pride and Prejudice” // translated by I.S. Marshak // Martin. – 2009.

5. Demurova N. “Jane Austen and her novel “Pride and Prejudice”

URL: http://www.apropospage.ru/osten/ost3.html (2004)

6. The Life of Jane Austen // Tomalin K. // Hummingbird. – 2013.

7. Linguistics of translation // V. N. Komissarov // LKI. – 2007.

8. Jane Austen's Family URL: http://www.people.su/83581

9. Stylistic analysis of literary text // Plevina N.F. // Enlightenment. – 1980.

10. Pride and prejudice // Jane Austen // Penguin Classics. - 2009

I read Pride and Prejudice during two of my trips. It just so happened that the most significant Jane Austen, cover to cover, was read on wheels. I have two feelings about Jane Austen! On the one hand, I can’t understand why I considered her to be the great novelist Somerset Maugham (who, by the way, is really wonderful), as well as modern compilers of all sorts of literary tops. On the other hand, her smooth, somehow fluid narrative really captivates. No grand scale, just leisurely life and, in general, insignificant heroes.

The plot of the novel is unknown only to the lazy: if anyone has not read the book itself, then they have definitely seen one of the many film adaptations. Tangled Story the love of two people: Mr. Darcy, a sophisticated and reserved aristocrat, and Miss Elizabeth Bennet, a lively and spontaneous girl standing much lower than Darcy on the class ladder. The first is in the shackles of pride, the second is in captivity of prejudice and prejudice.

Gradually, in an incredibly difficult way, they master the art of mutual understanding. True, this thread of the novel is in many ways reminiscent of a sitcom: someone misunderstood something, someone by chance did not receive the letter explaining everything, and then left, missing each other by just a split second! But all these situations are written out so subtly, without the slightest bit of comedy, that they do not cause any rejection. Everything is very timely and correct.

In addition to Darcy and Elizabeth, there are other significant figures in the novel. For example, Elizabeth's father, Mr. Bennet. Having married, when he was young, a sweet and pretty girl, he very soon realized that behind the pretty facade only greed and phenomenal stupidity were hidden. Aloof and caustic, he spends all his time in the vast library, laughing at his wife’s stupidity. In this generally faded situation, Jane most clearly reveals her entire attitude to the “bride fair” and arranged marriages in general (which were then completely common! Bad manners were considered rather a marriage of unreasonable love).

Now speeches about the immorality of such marriages have long become familiar and banal. But then, at the height of the season, say out loud that money cannot become a single measure of happiness! It was really brave.

Perhaps this story was Austen's own dream. A happy marriage of two absolutely unequal people was to some extent a utopia, especially at that time, and especially in conservative-minded Britain. And Austen herself (who, as we know, never married, and lived in her parents’ house until the end of her days) makes it clear that it is better to live life this way than in an unhappy marriage-deal.