Вы находитесь на странице: 1из 8

Chen 1 Womens Independence in Jane Austens Pride and Prejudice and Persuasion

Sunny Chen Ms. Wilson AP Literature and Composition 12 February, 2014

I have read and understand the sections in the Student Handbook regarding Mason High School's Honesty/Cheating Policy. By affixing this statement to the title page of my paper, I am certifying that I have not cheated or plagiarized in the process of completing this assignment. If it is found that cheating and/or plagiarism did take place in the writing of this paper, I understand the possible consequences of the act, which could include a "0" on the paper, as well as an "F" as a final grade in the course.

Chen 2 Sunny Chen Ms. Wilson AP Literature and Composition 12 February, 2014 Womens Independence in Jane Austens Pride and Prejudice and Persuasion Happily ever after. True love. These are the fairy tale endings, the final marriage vows, the story life every girl wants. But this is not always the case. In fact, throughout history, women have often sacrificed their happiness in order to have a presence in society, as only a marriage to a respectable husband provided for rights and prosperity. This rendered women unable to gain personal success, as they were bound by the social expectations of marriage and being a good wife. Jane Austen goes against such ideals in a time of strict Regency hierarchy, producing strong female characters and a theme that love will always triumph over social injustices, expectations, and pressures. Her protagonistsElizabeth Bennett from Pride and Prejudice and Anne Elliot from Persuasionare able to overcome the customs of the Regency era and the pomposity of the people around them, ultimately finding true love at the end of their stories. Austen was a formidable feministic critic, a revolutionary comparable to Mary Wollstonecraft (Ascarelli). However, her staunch feminist stance was interwoven between bouts of delightful satire and softened by end-of-book marriages (Ascarelli). Ironically, at first it might seem that she endorsed the accepted social hierarchy through the marriages, but truthfully, they represented an ideal paradigm for the most perfect fusion between the individual and society (qtd. in Ascarelli). By proving through her female protagonists that love should triumph over social values, Austen found leeway in womens roles during the strict Regency erathat women should be able to think and act for themselves. Using interwoven symbols, free

Chen 3 indirect discourse, and satirical humor, Austen urges for women to strive towards independence and equality. Austens use of symbols throughout her books serves to empower her female protagonists and condemn the social standards of dress, occupation, and status. In the beginning of Pride and Prejudice, Elizabeth arrives at the Bingleys in a dirty petticoat in order to tend to her sister. The snobbish Miss Bingley makes a tremendous fuss out of this, commenting how Mr. Darcy wouldnt want to see his sister make such an exhibition (Austen, Pride and Prejudice 36). This shows the importance of the petticoator simply, clothingas a symbol for social standards. In On Pettiness and Petticoats: The Significance of the Petticoat in Pride and Prejudice, Efrat Margalit states that Jane Austens readers would have attributed the dirty petticoat to [...] sexual indecency. The upper class and the well-bred young women would have the understanding to wear appropriate clothing and conform to the rules society has set for them, which emphasizes Elizabeths differences as an independent thinker. She prioritizes helping her sister over wearing clothes that others would approve of, something that is paralleled with Anne maintaining her friendship with Mrs. Smith despite the fact that her society would condemn her for socializing with the penniless and humiliated. Also in Persuasion is the symbol of the navy, which Austen uses to describe female empowerment. Through Captain Wentworth, the navy represents the ability to climb the social ladder and gain status in a world of inherited nobility. Sir Walter admits that that navy is a means of bringing persons of obscure birth into undue distinction, showing how those not born with a high status can work to reach there themselves, something rare in the Regency society (Austen, Persuasion 49). In fact, Walter begins his words by naming the grounds of objects to the naval profession, or, as Monica Cohen states in Persuading the Navy Home: Austen and Married Women's Professional Property, the extent to which they

Chen 4 disrupt the traditional social order (Austen, Persuasion 49). Cohen goes on to argue that the navy represents an aim to expand the womans sphere by defining it as a social and ethical expertise (Cohen). This is best seen through the relationship between Admiral Croft and his wife, Sophia, who travel together at sea and share equal responsibility in driving the stagecoach. It is not unreasonable then, how they are one of the few couples in Austens stories that married for love and happiness. Annes relationship to Captain Wentworthand consequently the navythen serves as her wish to achieve a similar equality and challenge social expectations for women in marriage. It is also important to note that, contrasting to the prosperity of those in the navy, Annes own family is in a state of disarray and debtcaused by her own fathers attempt to fulfill the social role of a noble. Through this, Anne continues to stand out as a woman with powerful aspirations. This allows her to become a revolutionary, one who challenges gender roles and the social pyramid. Austens use of symbols allows her to set down underlying implications behind seemingly straightforward plot details, both for her female protagonists and the world they live in; consequently, the symbols stand to emphasize her feminist views and beliefs. While symbols represent outside forces for her protagonists, Austens prolific use of dialogue and free indirect discourse serves as their inner power. The dialogue reflects the idea of voice being power, asserting her female protagonists as strong and independent. Both Elizabeth and Anne are described as witty and free speakers, willing to remark upon things that others may normally stay silent. When Lady Catherine angrily demands Elizabeth to end her relationship with Mr. Darcy, Elizabeth replies, the arguments with which you have supported this extraordinary application have been as frivolous as the application was ill-judged (Austen, Pride and Prejudice 298). She easily defends herself against the accusations of Lady Catherine,

Chen 5 someone in a higher social position than her. Austen specifically chooses to keep narrative at a minimum for this reason, highlighting Elizabeths inner strength and independence from the restrictions of the social hierarchy. In Persuasion, Anne is described with an elegance of mind and sweetness of character, and when Louisa suffers a head injury, she is calm and composed in aiding her while the others panic (Austen 36). She commands, I can support her myself. Leave me, and go to him. Rub her hands, rub her temples (Austen, Persuasion 130). Austens use of dialogue here shows her ability to act independently of others. Not only does dialogue give the heroines power, but is also one of the primary reasons why their love interests are attracted to them, seen when Mr. Darcy states to Elizabeth, By you I was properly humbledYou showed me how insufficient were all my pretension to please a woman worthy of being pleased (Austen, Pride and Prejudice 308). Through this, Austen demonstrates her love-over-society theme, supporting her argument that women should find independence for themselves. In addition to dialogue, the use of free indirect discourse is also important when discussing Austens writing style, as it grants females power in her stories. By mixing the narrators voice with the characters voice, Austen effectively empowers the character. This can be seen when Elizabeth receives her first proposal from Mr. Darcy. Her shock is reflected in Austens use of free indirect discourse here, that she should receive an offer of marriage from Mr. Darcy! (Austen, Pride and Prejudice 164). The free indirect discourse also allows readers to see Austens viewpoints from the point of view of the character. It allows them to connect with the character in ways a traditional, omniscient or limited, point of view would not; it sets the tone through the heroines voice, providing an inoffensive method for Austens feminist stance. The readers naturally desire to support the protagonists in their quest for love, consequently becoming more flexible to the radical ideas Austen was introducing in her novels. The theme of

Chen 6 womens independence from social expectations that Austen advocated for is then easier to accept. Free indirect discourse provides an output for another prominent feature of Austens writing stylehumor. Through satire and irony, Austen reinforces her heroines independence from the people around them. Mr. Collins is the best example of satirical criticism. He is pompous and obsequious by nature, resorting to long, drawn-out, flowery speeches when talking with someone else and always groveling to those above him. When faced with Elizabeths rejection over his proposal, he remarks that it is usual with young ladies to reject the addresses of a man whom they secretly mean to accept (Austen, Pride and Prejudice 93). In The Comedy of Social Distinctions in Pride and Prejudice, John McAleer states, [he] schemes constantly to compliment [Lady Catherine]. This mocks Collins in his attempts to fawn over those higher than him in the social hierarchy, which implies that Austen condemns such behavior. Her use of humor then also serves to divide her female protagonists from those curled about societys fingershowing her support of female independence. Similarly, Austen also ridicules both Elizabeth and Annes parental figures by giving them traits of unreliability and irresponsibility when it comes to their daughters. Mrs. Bennett is overly preoccupied with finding her daughters suitable husbands, and translates the news of Elizabeths engagement at once into material terms (McAleer). Mr. Bennett prefers the company of his study to the problems of his family. And Mr. Elliot foolishly sends his family into debt in order to keep up noble appearances, as vanity was the beginning and the end of [his] character (Austen, Persuasion 36). This may be attributed to the social pressures of the timemarriage and social status being two of the most importantbut it is also another important detail that sets Austens protagonists apart from those around them. The ridicule of the parental figures ultimately shows how they are better off

Chen 7 independent and in control of their own futures. Also for her readers, Austen is able to voice her complaints against social restrictions for women without offense through this satire. As such, satirical humor is an essential component in showing Austens call for womens equality. Austens characters provide a call for feminism in a time when women were imprisoned by social barriers. They find love and happiness even in adverse situations, one of the common features of Austens novels and also one that shows her defiance towards social expectations towards marriage. And beyond saying their vows, her characters are set apart from the people around them through symbols, voice, and humor; they demonstrate Austens stance for womens equality and independence. It is through standing against the pressures of society that her female protagonists are able to find their true happily ever after.

Chen 8 Works Cited Ascarelli, Miriam. "A Feminist Connection: Jane Austen and Mary Wollstonecraft." Persuasions 25.1 (2004). Web. 14 January 2014. <http://www.jasna.org/persuasions/online/vol25no1/ascarelli.html>. Austen, Jane. Persuasion. John Murray, 1818. Print. 12 February 2014 . Pride and Prejudice. T. Egerton, Whitehall, 1813. Print. 12 February 2014. Cohen, Monica F. "Property, Persuading the Navy Home: Austen and Married Women's Professional." Novel: A Forum on Fiction 29.3 (1996): 346-366. Web. 14 January 2014. <http://web.ebscohost.com/ehost/detail?sid=ed83e579-5dae-435d-8af2ea3839a30193%40sessionmgr110&vid=1&hid=114&bdata= Margalit, Efrat. "On Pettiness and Petticoats: The Significance of the Petticoat in Pride and Prejudice." Persuasions 23.1 (2002). Web. 14 January 2014. <http://www.jasna.org/persuasions/on-line/vol23no1/margalit.html>. McAleer, John. "The Comedy of Social Distinctions in Pride and Prejudice." Persuasions 11 (1989). Web. 14 January 2014. <http://www.jasna.org/persuasions/printed/number11/mcaleer.htm>.

Вам также может понравиться