brande berrys thesis

7/29/2019 Brande Berrys Thesis

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THE FLORIDA STATE UNIVERSITY

COLLEGE OF ARTS AND SCIENCES

THE FIGURE OF THE CORRECTING WOMAN IN JANE AUSTEN: A

STUDY OF PRIDE AND PREJUDICE, EMMA,AND PERSUASION

By

SARAH MICHELLE BRANDEBERRY

A Thesis submitted to theDepartment of English

in partial fulfillment of therequirements for the degree of

Master of Arts

Degree Awarded:Spring Semester, 2006


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The members of the Committee approve the Thesis of Sarah Michelle Brandeberrydefended on April 3, 2006.

___________________________Eric WalkerProfessor Directing Thesis

___________________________James ORourkeCommittee Member

___________________________Barry FaulkCommittee Member

The Office of Graduate Studies has verified and approved the above named committeemembers.

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To My Grandparents, My Mom and Dad, My Brothers: Eric and Luke, and My Sisters:

Erin, Becky, Graber, Abby and Mollie. Thank you for believing in me when I couldnt

and for supporting me through it all. I love you more than words can express.

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ACKNOWLEDGEMENTS

I want to thank Dr. Eric Walker for his understanding support, his patience, and his

helpful criticism of my work. I could never have completed this project without him. I

also want to thank my committee members, Dr. ORourke and Dr. Faulk, for their help

and advice. Lastly, I offer special thanks to my mentor, Kate Meehan, for her emotional

support, her encouragement and her wonderful guidance throughout my graduate career.

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TABLE OF CONTENTS

Abstract ...................................................................................................... vi

INTRODUCTION ............................................................................................ 1

CHAPTER 1: CORRECTING WOMAN: ELIZABETH BENNET

TEACHES THE BOY A LESSON ............................................. 8

CHAPTER 2: EMMA WOODHOUSE AS PROGRESSIVEHEROINE.................................................................................... 27

CHAPTER 3: CORRECTING WOMEN: PERSUASIONSCOMMUNITY OF FEMALE TEACHERS ............................... 40

BIBLIOGRAPHY ................................................................................................ 59

BIOGRAPHICAL SKETCH .............................................................................. 60

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ABSTRACT

The politics of Jane Austens novels have long been a topic of scholarly interest. Many

scholars see Austens heroines as women embedded in the typical, conservative marriage plot

while others see them as proto-feminist figures of intelligence and power. Her heroines have

now become famous for their moral and intellectual lives, but many scholars argue that all of

Austens heroines must be brought down through the correction of a superior male character in

order to atone for their freedom of manner early in the novel and secure a suitable mate. In

Jane Austen and the Masturbating Girl, Eve Kosofsky Sedgwick identifies this as the Girl

Being Taught a Lesson tradition of Austen scholarship.

In this thesis, I argue that the scene of the girl being taught a lesson is actually a cover for

the more progressive correction that the heroine gives to her family, friends and, most

importantly, her male counterpart. We see that these intelligent women do not need to be taught

a lesson in order to correct flaws in their characters. On the contrary, these women correct

themselves through careful self-analysis and self-correction and use their intelligence and

knowledge to teach other characters. In my three chapters, I argue that Elizabeth Bennet inPride and Prejudice, Emma Woodhouse in Emma, and Anne Elliot in Persuasion act as moral

centers in these Austen novels. We see particular emphasis on these womens corrections of the

male characters in Elizabeths continual correction of Mr. Darcy, particularly in her rebuff of his

proposal, in Emmas correcting Mr. Knightleys opinions of Harriet Smith and in teaching him

to respect her impressive intellect, and in Annes teaching Captain Wentworth to respect her

decision to give him up and to acknowledge, once again, her superior sense, intellect and moral

character. These women are not contained by marriage; instead, they teach their male

counterparts before marriage and show that they will continue these lessons after their respective

unions. I show that these three heroines teach and correct those around them, offering a new

perspective on female intellectual work and its importance within marriage and in improving

society, one character at a time.

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INTRODUCTION

Jane Austen calls attention to the special dilemmas faced by women while also ensuring

herself an audience in a predominantly patriarchal as well as politically and morally conservative

society in all of her novels. Austens heroines offer important material for a study on the

progressive female self. In this thesis, I argue that Austen sets her female protagonists,

particularly Elizabeth Bennet inPride and Prejudice, Emma Woodhouse inEmma, and Anne

Elliot inPersuasion, within a framework that allows the character, and thus the book, a certain

subversive power. Austen foregrounds the woman character, exposing her faults and

inconsistencies not through punishment or discipline, but through internal self-study and self-

correction. The interior moral sense of each of her lead characters is stronger than that of any of

the secondary characters. As a result, the heroine must repeatedly correct and teach other

characters in the novel, especially her male counterpart. These heroines correct, with Austens

approval, their fathers, friends, sisters, cousins and future husbands. Thus, the final moral

character of the male and, ultimately, the family is uniquely dependent upon the moral

consciousness of the female protagonist.I explore my ideas on Jane Austen in relation to groundbreaking work done by Claudia L.

Johnson, Eve Kosofsky Sedgwick, Marilyn Butler, William Galperin, Susan Fraiman, and

Alistair M. Duckworth. These scholars discuss Austens heroines from various angles, offering

arguments about what these characters and the frameworks of the books show about Austens

politics, her proto-feminism and her critiques of society. I am particularly interested in

Sedgwick and Fraiman, who discuss what they see as the typical male correction of the female

heroine in Austens novels. I reread the scenes these critiques discuss, looking at each of these

masculine corrective moments as covers for the theme of the correcting woman in Austens

novels. The woman who appears to be corrected by the male figure in a particular scene is

actually correcting him, herself and those who surround her throughout the novel.

InPride and Prejudice, inEmma, and inPersuasion, Austen places the heroine in this

position of moral power. In my first chapter, Correcting Woman: Elizabeth Bennet Teaches the

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Boy a Lesson, I argue that Elizabeth continually instructs Mr. Darcy on his behavior and hispride, which causes him to undergo a complete change in character by the end of the novel. I

focus this argument on Austens use of such educational terms as teach, learn, correct, and

reproach along with suggestive words like teaze, ridicule, laugh at and change

throughoutPride and Prejudice. I pay particular attention to the letter Elizabeth receives from

Darcy on the day following the first proposal scene, which many critics believe shows that

Elizabeth is corrected by Mr. Darcy. Susan Fraiman, for example, in The Humiliation of

Elizabeth Bennet, discusses Elizabeths embarrassment and Austens use of the word

humiliation in regards to her mistaken ideas about Darcy and Wickham. Fraiman reads this

scene as a typical male correction of an erring woman. In this chapter, I argue that the

correction, or humiliation, of the heroine is actually a cover, on the part of the author, for the

deeper and more sincere correction that the heroine gives her male counterpart. Focusing on the

letter and Elizabeths response to it overlooks the importance of Elizabeths harsh reproach to

Darcy in refusing his proposal. In this scene, Elizabeths reproach forces Darcy into a soul-

search, which causes a change in both his attitude and his moral character. She points out his

personal flaws, his immense pride in himself and his family and his total unsuitability in hereyes. While his correction of her leads to a short time of embarrassment due to unforeseeable

circumstances, Elizabeths correction of Mr. Darcy humiliates his pride and eventually leads to a

complete change of heart. His letter simply corrects the information she got from another

source; she just needs to decide whose version of the story to believe. Darcy, in effect, becomes

a different man; he endeavors to win her by checking his pride, his hatred for Wickham and his

embarrassment of her family. He humbles himself in front of her and her family and even, much

to the detriment of his pride, helps to reunite Bingley and Jane.

Another important scene that deals with Elizabeth as a correctress in the novel occurs just

moments after Elizabeth and Darcy become engaged, when Elizabeth checks a snide remark

because she remember[s] that he had yet to learn to be laught at, and it was rather too early to

begin (Vol. III, Ch. 16, p. 243). InThe Improvement of the Estate, Alistair Duckworth

discusses the significance of this quotation in relation to Elizabeths laughter at Darcys expense.

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He quotes this line, claiming that this is proof that she is beginning to regulate her laughtersomewhat (Duckworth 140). He feels that a marriage to Darcy will control and contain

Elizabeth. I read her quotation to imply not a checking of instruction, but rather to show

Elizabeth making a note or a plan on how she will continue to instruct Darcy. She admits that

the current moment is not appropriate for correction, but she does have more things that she must

teach him. Elizabeth feels that her role is to correct Mr. Darcy, long before he becomes her

husband, but this scene also shows that her instruction will not end simply because they are

married.

In my second chapter, Emma Woodhouse as Progressive Heroine, I continue exploring

the theme of the correcting woman. This chapter largely deals with the most famous scene of

correction in Austens work, the episode at Box Hill. Many critics see this scene as the

culminating lesson in the education of Emma Woodhouse, wherein Emma finally learns to

submit to Knightleys superior moral character and correct her erring ways. I argue, however,

that Austen once again employs a scene of typical male correction of a mistaken female as a

screen for the continual corrections that Emma gives Mr. Knightley, her father, Harriet Smith

and others.While she is reprimanded by Knightley during the episode at Box Hill, the significant

change in Emmas moral character and the embarrassment due to her actions are caused by her

realization of and reflection upon her moral impropriety, not by Knightleys angry reprimand.

She recognizes her poor behavior before he even begins his reproach. She immediately begins to

correct her character and make amends for her comment to Miss Bates. Like Elizabeth Bennet,

Emma possesses the quality of what Marilyn Butler calls perfectibility. She does not need to

be corrected by the masculine figure in order to receive moral instruction. Here, and throughout

the novel, we see that Emmas intelligent mind is able to deal with the problems around and

within her without the direct influence of some male character.

I also reexamine Mr. Knightleys reproach to Emma, pointing out that his angry

reprimand shows much more than just moral indignation, as other critics, such as Susan

Wolfson, have also argued. I show that Knightley does not truly care about Miss Bates or

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Emmas treatment of her. When he returns from London after this scene, he does not search forany change in Emmas behavior and he never mentions Miss Bates. Knightley even apologizes

to Emma for always finding fault in her, saying, I have blamed you, and lectured you, and you

have borne it as no other woman in England would have borne it (Vol. III, Ch. 13, p. 282). She

has borne his attempts at moral instruction while she, at the same time, has actually succeeded in

instructing him, herself and others.

I also discuss how Emma uses her special position of social and intellectual power to

correct her family members and her friends. She plays the role of teacher to various characters,

but her most obvious corrections are seen in her attempts to improve Harriet Smith and her

subtle corrections of (and for the sake of) her father. Emmas corrections regarding her father

are particularly important in that the goal of her lessons is to make him as comfortable as

possible. She corrects her father when she feels his reflections on the loss of Miss Taylor are

particularly melancholy, pointing out that their former governess is happily married and only

lives a short distance away. She controls John and Isabella when it appears that their

conversations will upset or frighten her father. She also even corrects Mr. Woodhouse when he

suggests restricting the diets of their dinner guests by actually offering them a substantial andappropriate repast of which her father would not approve.

I argue, however, that the most influential teaching role Emma plays is that of correctress

to Mr. Knightley. Emma significantly corrects Mr. Knightleys treatment of Harriet Smith and

teaches him to respect and value her own moral character and sensible intellect. Early in the

novel, Knightley criticizes Emmas adoption of Harriet Smith and warns Emma against trying to

match her with Mr. Elton, who is not at all likely to make an imprudent match and does not

mean to throw himself away (Vol. I, Ch. 8, p. 42). Here, Knightley shows that he disdains

Harriet Smith and believes Mr. Elton would be throwing himself away in marrying Harriet.

However, Knightley learns that Emma had judged Harriet and Mr. Elton better than he had and

eventually admits to Emma that she would have chosen for [Mr. Elton] better than he has

chosen for himself. He concedes that Harriet has some first-rate qualities and is [a]n

unpretending, single-minded, artless girl, which shows that he has learned to value Harriet as a

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person and has corrected his opinion on Mr. Eltons superiority (Vol. III, Ch. 2, p. 216).Through her education of Harriet, Emma teaches Knightley to value her discernment and her

abilities as a teacher. She teaches him to respect her intellect and acknowledge that her

judgment does not need his supervision. Eventually, she even forces him to leave his life of

powerful independence at Donwell Abbey to live as an equal with her and her aging father in

Hartfield.

In my final chapter, Correcting Women: Persuasions Community of Female

Teachers, I show Anne Elliot to be an important part of a community of correctresses in the

novel. I argue thatPersuasiontakes female teachers as its theme, showing how these women

work together to teach themselves and those around them. We see Lady Elliot, Lady Russell,

Mrs. Croft and Anne all attempt to correct their friends and family members, while also aiding in

each others moral life. Lady Russell has acted as a teacher and guide for Anne Elliot ever since

the death of her mother, which shows the importance of the female teacher in the novel. She has

also tried to use her influence to correct Sir Walter Elliot and the other girls, but they refuse to

listen to her advice. We learn that when Lady Elliot was alive, she had been able to control Sir

Walter and the household expenses, something Lady Russell cannot do. Anne Elliot thusbecomes part of this genealogy in growing up under both womens tutelage and attempting to

use her wisdom to teach her father, sisters and others. However, Annes position as a single

woman highlights the problems that a lone woman has in trying to teach those around her. We

see that Sir Walter and Elizabeth ignore her completely and Mary Musgrove only listens

occasionally. I argue that this shows that an education can only be given to an already sensible

character. Thus, the intelligent naval officers, Captain Wentworth and Captain Benwick, can

change through Annes lessons. In contrast, the inability to learn from a moral superior like

Anne or Lady Russell marks characters like Sir Walter and Elizabeth as irredeemable.

The development of Annes moral character and her role as a teacher is particularly clear

in the history of her relationship with Wentworth. Lady Russell had persuaded her to end their

engagement at nineteen, and Anne decides, over the eight years they are apart, that she made the

right decision in refusing him. I argue that Austen once again uses the plot of the girl being

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taught a lesson in order to cover Annes progressive role as teacher. Wentworth claims thatAnne has been too easily persuaded by Lady Russell. However, I argue that Austen gives an

abundance of examples that show Anne made the right choice and that she must teach

Wentworth to abandon his stubborn pride and resentment and return to her. I show that Austen

offers a foil to Anne in the figure of an old school friend, Mrs. Smith, who has suffered greatly

from an imprudent marriage and a poor choice of friends at the age of nineteen. Mrs. Smith

claims that [a]t the age of nineteen, you know, one does not think seriously, which confirms

that Anne was right to submit to a mother-figures advice at the age of nineteen (Vol. II, Ch. 9, p.

187). We also see that when Anne refuses Wentworth, he has not proven himself capable of

saving any of the money he earns and his only guarantor for success in the future is himself: he

was confident that he should soon be rich . . . [h]e had always been lucky; he knew that he

should be so still (Vol. I, Ch. 4, p. 27). He expects Anne to commit her life to him based on his

confidence and his history of good luck, which would be extremely imprudent. I also argue that

the situations of Captains Benwick and Harville show some of the other possible outcomes for

Wentworth, validating Lady Russells fears and Annes prudence. If he hadnt been so lucky,

Wentworth could easily have ended up like one of his fellow sailors, leaving Anne in theposition of a Mrs. Smith or even worse, a Fanny Harville.

The majority of the novel shows Anne Elliot correcting Frederick Wentworth, teaching

him what he has lost due to his pride. Through her words and actions, she teaches Wentworth

his errors, which helps him to eventually return his love to her. She has already shown her

constancy by refusing a suitable husband in Charles Musgrove. We also learn that Wentworth

could have come back after he earned his fortune, which Anne is certain she wouldve done if in

his position, but his failure to return convinces Anne that he no longer loves her. When he does

return, he comes back bitter and resentful, willing to marry any woman but Anne. This anger not

only hurts him and Anne, but it also endangers Louisa Musgrove. It is not until after Louisas

accident at the Cobb, where Anne convinces Wentworth of her superior character, that he begins

to learn his lesson and eventually returns to her. During this accident scene, Anne shows her

perfect judgment and presence of mind, directing everyone in their party, including Wentworth,

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himself. I show that this scene is particularly important in that it juxtaposes Wentworthsinability to act with Annes perfect control and presence of mind. Here, Anne re-teaches him her

value, showing him his folly in refusing to forgive her and deliberately trying to hurt her by

courting an inferior woman in front of her.

Anne completes his lesson in her clever defense of womens constancy to Captain

Harville, while Wentworth sits nearby. Through her vivid rhetoric, she shows him that she has

remained true to him, but also reprimands him for his lack of constancy. While she admits that

she forgives him, she also teaches him the power and independence of her fine mind. Together

with his sister, Mrs. Crofts, statements against uncertain engagements, Anne teaches him to

respect her judgment and acknowledge that he had been wrong to hold on to his resentment

towards her. After their reconciliation, she continues to teach him her value, clearly telling him

that she had not been wrong in submitting to Lady Russell, claiming that she is guiltless in their

relationship. Here, he realizes his folly in blaming Lady Russell for her interference, when his

refusal to return earlier prolonged their agony for six years. I argue that this final scene shows

the power and independence Anne will continue to claim in their marriage. She enters into the

union blameless, with complete faith in her teaching abilities and her judgment. She has learnedhow to be an independent woman in her eight years as a single woman, and she has learned how

to combine this independence with marriage from Mrs. Croft. Anne Elliot, just like Elizabeth

Bennet and Emma Woodhouse, will not submit her own intellect and moral character to that of

her husband, but will instead expect a union of happy independence (Vol. II, Ch. 6, p. 158).

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CHAPTER 1

CORRECTING WOMAN: ELIZABETH BENNET TEACHES THE BOY A LESSON

An important theme inPride and Prejudice, as discussed in criticism from Tony Tanner

to Alistair Duckworth to Eve Sedgwick, is the education that Elizabeth Bennet and Mr. Darcy

receive from each other. InThe Improvement of the Estate, Duckworth claims Darcys pride is

convincingly humiliated . . . but it is more important . . . to consider Elizabeths education in thenovel, which has been widely accepted by many prominent Austen critics (308). He argues that

the education Elizabeth receives from Darcys letter teaches her to give up her individualism to

the aid and control of authority (qtd. 315). In effect, she gives up her individualism and

submits to a superior man in order to stabilize the hierarchical order. Her active mind is most

useful when governed by the more powerful intellect of a well-bred, wealthy and educated man.

Duckworth feels that Austen uses Elizabeth to aid in the reordering of society, but the

relationships between the males (Mr. Darcy, Mr. Gardiner and Mr. Bennet) are of the utmost

importance.

Susan Fraiman also offers a persuasive argument in her article The Humiliation of

Elizabeth Bennet. She states that Darcy woos away not Elizabeths prejudice, but her

judgment entire (363) and she loses . . . her authority because Austen seems concerned to

show that she pays a certain price for her freedom of manner shown earlier in the novel (367).

Fraiman, like many other critics, sees the marriage between the two as marginalizing Elizabeths

mind. She argues that even though Jane Austen is progressive in giving Elizabeth an active

mind and the ability to make good judgments, she still must establish that these qualities are

most important for securing a worthy, and perhaps wealthy, husband. When this man appears,

Elizabeth, according to Fraiman, declines into the normative, submissive female role of her

literary predecessors. Elizabeths marginalization is thus penance for both character and author.

Although Austen creates a progressive heroine, the author succumbs to her conservative roots by

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having Darcy teach Elizabeth a lesson that corrects her previous behavior and forces her to giveup her judgment and her authority to her husband.

I argue that the conservative view of Elizabeth as one of the myriad of women corrected

by a superior male force fails to see that Elizabeth is not actually corrected; she does the

correcting. The activity of Elizabeths mind does not cease after she realizes that Darcy is not

what she originally conceived him to be. In fact, her intellect grows stronger, more dominant

and less humble by the painful corrections she allows herself to undergo. By correcting her own

faults, she prepares herself for a life of not only continual self-improvement, but also of

continually improving and instructing her children, her husband and even teaching the admiring

multitude what connubial felicity really [is] (Vol. III, Ch. 8, p. 202). In my argument, I am

interested in the idea of the correcting or teaching woman that agrees with Eve Sedgwicks

analysis of Austen criticism. In Jane Austen and the Masturbating Girl, from which I steal my

title, Sedgwick notes that much of Austen criticism is notable . . . for its unresting exaction of

the spectacle of the Girl Being Taught a Lesson (Sedgwick 834). She mentions some of the

countless cases of Austen scholars reading her heroines as being taught and learning something

from a masculine character. Such corrective moments include Henry Tilneys correction ofCatherine Morland regarding her gothic imagination about General Tilney and the infamous Box

Hill Episode where Mr. Knightley harshly corrects Emmas behavior with it was badly done

indeed! (Emma, Vol. III, Ch. 7, p. 246). While this spectacle certainly appears inPride and

Prejudice, one can see that the spectacle of Elizabeths correction is a conservative cover for the

deeper, more progressive correction that the heroine gives her male counterpart. Elizabeth does

learn to check her tongue and comes to the realization that her first impressions about both

Wickham and Darcy were wrong. However, it is Mr. Darcy who, at her instigation, undergoes a

true character change.

What is important here is that while both Darcy and Elizabeth learn, it is only Elizabeth

who actually teaches. Darcys letter to Elizabeth is meant to inform, not instruct. He defends

himself and relays the truth of his and Wickhams acquaintance; he corrects a falsified story for

both his and Elizabeths benefit. Darcy feels that by an honest rendering of Wickhams false

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accusations, she might be able to vindicate him of at least one of the evils she holds against him.He, however, leaves the decision up to her by asking for an acquittal if [she does] not absolutely

reject it as false, which validates her strong mental powers (Vol. II, Ch. 12, p. 133). His proofs

are not much stronger than Wickhams had been and he leaves the decision between the two up

to her discretion. His correction of her is merely informational she learns that Wickham has

lied to her and the rest of Hertfordshire. Her mistake was only in believing Wickhams stories.

Elizabeths trust of Wickham is not a character flaw; the flaw lies solely in the deceiver.

When Wickham recites his story, Elizabeth can have no reason to believe anything that

contradicts his story. Early in the novel, we see that Darcy [is] the proudest, most disagreeable

man in the world, and every body hoped that he would never come there again (Vol. I, Ch. 3, p.

8). Elizabeth has a prejudice against a man who has proven himself to be completely intolerable

and intolerant not only to her, but to the entire community. He insulted her at the ball and

showed himself, upon further acquaintance, to be even more abominable. Her evidence of his

behavior convicts him long before she ever hears Wickhams story. Perhaps, as some critics

have noted, Elizabeth should have been suspicious when Wickham chose to discuss private

issues so openly and she might also have given him an inappropriate amount of encouragementby readily acknowledging her dislike of Darcy. Aside from these slight improprieties, Elizabeth

has committed no error.

In this case, Wickham dupes everyone by his remarkable story, a story that has been

cleverly crafted by an intelligent mind. Wickham gives a faithful portrayal of most things that

are not directly connected with his infamy. He carefully combines half-truths with whole truths,

making his story difficult to penetrate. He claims almost all [Darcys] actions may be traced to

pride, which proves to be true throughout the novel (Vol. I, Ch. 16, p. 56). Those closest to

Darcy speak of his pride and Darcy, himself, even admits to it. Darcy and Lady Catherine later

corroborate Wickhams recount of his and Darcys childhood, the relationship and dispositions

of their fathers and the tacit engagement between Miss De Bourgh and Mr. Darcy. Also,

Wickhams portrayal of Lady Catherine as dictatorial and insolent (Vol. I, Ch. 16, p. 57) is

proven over and over and the narrator describes her at the end of the novel, in an interesting

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repetition, as more than usually insolent and disagreeable (Vol. III, Ch. 14, p. 230). BothElizabeth and the narrator hold close to Wickhams portrait of her. In addition, Wickham

analyzes his situation and realizes that the whole town already dislikes Darcy. He knows his

adversarys pride well enough to know that Darcy will not condescend to correct the falsehoods

in a group of people so below him as the people of Hertfordshire. Elizabeth is not the only one

deceived by Wickhams lies, since all that he had suffered from [Darcy], was . . . openly

acknowledged and publicly canvassed (Vol. II, Ch. 1, p. 93). His story is universally accepted

and supported. Darcy has shown himself, thus far, to be no different than the Darcy portrayed by

Wickham and thus gives the townspeople no reason to doubt Wickhams history. The only one

who tries to believe Darcy as not completely in the wrong is Jane, who at the same time does not

discredit Wickham and is unable to think ill of anyone.

Elizabeths judgment remains strong throughout the novel and while the reader must

acknowledge that she was wrong with Wickham, all of her other accusations of Darcy and others

remain correct. Elizabeth discerns that Bingley remains away from Netherfield at the insistence

of his friends. She is certain, as Jane most certainly is not, that when his sisters and Darcy quit

the house, their intent is to keep Bingley as far away from Jane as possible. Darcys cousin,Colonel Fitzwilliam, amply, but unknowingly, proves this assumption to be true. He tells her

that Darcy congratulated himself on having saved a friend from the inconveniences of a most

imprudent marriage, proving her suspicions (Vol. II, Ch. 10, p. 122). She is only mildly

surprised at this discovery, since that he had been concerned in the measures taken to separate

Mr. Bingley and Jane, she had never doubted (Vol. II, Ch. 10, p. 123). She had assumed that

Bingleys sisters were the chief figures, so she does correct a small mistake of knowledge, but

her overall judgment had been perfect. She knew that Bingley cared for her sister and that he

would not have stayed away from her without a significant amount of persuasion from his

friends.

In this case, she believes Colonel Fitzwilliams story, who she barely knows better than

she had Wickham, without censure from the narrator or the author. And, in this case, she is

completely correct. Elizabeth has no reason to think more, or less, of Wickham than of Colonel

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Fitzwilliam. The only reason she receives no censure due to her faith in Colonel Fitzwilliam isthe simple fact that his story is not disproved. The praises of both Colonel Fitzwilliam and

Wickham on the occasion of first meeting are very similar. When Wickham meets Elizabeth at

the Phillipses, the narrator notes the agreeable manner in which he immediately fell into

conversation (Vol. I, Ch. 16, p. 52). When Darcy and his cousin visit the Collinses, Colonel

Fitzwilliam entered into conversation with the readiness and ease of a well-bred man, and talked

very pleasantly (Vol. II, Ch. 7, p. 113-114). Both the Colonel and Wickham are praised

because of their talents at conversation, but the praise of only one proves to be unmerited.

Elizabeth is not criticized for either of these judgments. It seems perfectly reasonable to judge

both of these characters based on their ability and desire to please. Austen draws attention to the

similarities between these two characters in a reflection of Elizabeth. She notes that [she] was

reminded by her own satisfaction in being with [Colonel Fitzwilliam] . . . of her former favourite

George Wickham; and though, in comparing them, she saw there was less captivating softness in

Colonel Fitzwilliams manners, she believed he might have the best informed mind (Vol. II, Ch.

9, p. 119-120). This comparison never proves to be false. Wickhams soft manners remain so

throughout his infamy and in his visit to Longbourn after the wedding, and we are led to believethat most in the Darcy family possess strong, albeit proud, intellects.

Darcys explanatory letter leads, after a time, to a correction of Elizabeth. After reading

it over many times and debating who is most likely to be trusted, she grew absolutely ashamed

of herself Of neither Darcy nor Wickham could she think, without feeling that she had been

blind, partial, prejudiced, absurd since she realizes that Darcys portrayal is the truth (Vol. II,

Ch. 13, p. 137). However, Darcy never accuses her of any of these faults she accuses herself.

She could simply have acknowledged that she had been wrong as Jane often does and find no

extraordinary fault in it. She could have looked at the obvious faults of the author and found

justification in knowing that hers were significantly less malicious. Instead, she says, How

humiliating is this discovery! Yet, how just a humiliation! and allows herself to be mortified

(Vol. II, Ch. 13, p. 137). She is not humiliated that she was wrong, she is humiliated because of

her disappointment in herself: I, who have prided myself on my discernment! I, who have

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valued myself on my abilities! (Vol. II, Ch. 13, p. 137). There is no doubt that this girl islearning a lesson, but the importance lies in the fact that she is not being taught; she is teaching

herself. She is humiliated because she has made a mistake in the one place that she has always

excelled. She has prided herself in the superiority of her intellect and discernment and while she

is usually right in her judgments of people, this time she has made a miscalculation. She has

found an imperfection in the mind that she knows is superior to many, if not all, of those around

her. She proves her excellent mind by continually examining and correcting herself. She needs

no prompt from a male, be it her father or Darcy, to discover her faults and attempt to fix them.

There is no outward need for her to change her mental activities; she has done no harm and made

no gross error. However, she is unable to admit a mistake without seeking the cause and

attempting to correct it. She likes to indulge in all the delight of unpleasant recollections

because she enjoys self-reflection, actually enjoys improving her accomplished mind, even if

some of her thoughts are painful (Vol. II, Ch. 14, p. 140). She shows herself capable of self-

discernment and self-correction, an attribute that appears in no other characters in the novel and

very few in the rest of Austens work. Through Elizabeths vigorous mental activity in

attempting to rid herself of a perceived fault, she proves herself to possess the qualities of theperfectible. While Darcy is able to give her the truth on various points, it is her willingness and

desire to improve herself that causes her mental humiliation and brings about her gradual

change.

One must note here that Elizabeth does not change for the benefit of Darcy. She claims

his attachment excited gratitude, his general character respect; but she could not approve him;

nor could she for a moment repent her refusal, or feel the slightest inclination ever to see him

again (Vol. II, Ch. 14, p. 140). She neither expects nor hopes for a renewal of his application.

In fact, she hopes that he will never see her in her enlightened state; she would be quite happy to

give up the acquaintance entirely. She changes purely for herself, for the benefit of her mind,

not for the hope of catching the man who has caused her correction. The actions of Darcy after

the refusal scene, the actions brought about by her firm correction of him, are what ultimately

cause her change of heart toward him.

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Elizabeth begins correcting Darcy at the very beginning of the novel. In walking withMiss Bingley after a comment critical of women from Darcy, Elizabeth invites her partner to

Teaze him laugh at him and is shocked to find out that Mr. Darcy is not to be laughed at

(Vol. I, Ch. 11, p. 39). Mr. Darcy immediately learns that if he is to be in the company of

Elizabeth, he must put up with her liveliness. His actions and attitudes, if amusing to her, will be

subjected to her ridicule. Shortly after this comment, she snidely comments on Mr. Darcys

perfection, which forces him to admit that he does in fact have faults and that [his] good

opinion once lost is lost forever (Vol. I, Ch. 11, p. 39). Here, Elizabeth is already forcing Darcy

to begin soul-searching. She warns him in one of their earliest meetings that a relationship with

her will force him to mortify and humiliate himself by constant exertion towards perfectibility.

She immediately teaches him that she values an active, reflective mind that works at correcting

itself.

Elizabeth teaches Darcy yet another lesson at Rosings, in the presence of Colonel

Fitzwilliam. She calls attention to Darcys failure to fulfill his role as well bred man and dance

at the ball in Hertfordshire. His excuse that he did not know any of the ladies at the ball is

answered by her satirical exclamation that nobody can ever be introduced in a ball room (Vol.II, Ch. 8, p. 116). He had failed to act as he should have in the ballroom and she calls his

attention to his misdeed. When he once again attempts an excuse, she notes that her

imperfection on the piano is [her] own fault because she would not take the trouble of

practicing, curtly informing him that his excuse of shyness could easily be fixed by practice if

he would but trouble himself to do so (Vol. II, Ch. 8, p. 116-117). Once again, she plainly

chastises and corrects him in front of witnesses. She teaches Darcy first that he has faults, and

then shows that she expects him to work towards perfecting them. These lessons work together

to prepare him for the complete change his character must undergo in order to win Elizabeth at

the end of the novel.

While Darcys letter shows that Elizabeths opinions are in need of correction, the

reproach of Darcy by Elizabeth during the proposal scene is the more significant lesson of the

novel. Elizabeths honest and harsh accusations to Darcy cause him to undergo a significant

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character change. The entire third volume focuses solely on the Bennet family, cleverly hidingthe struggles that Darcys mind and soul undergo. It is devoted to the relentless wrestling of

Elizabeths mind and to the infamy of Lydia and Wickham. Elizabeth refuses Darcy in April and

he does not reappear until the end of the summer. However, it can be assumed that, during this

time, Darcy has done a significant amount of wrestling himself. Austen chooses to centralize

Elizabeth as the Girl Being Taught a Lesson in order to hide the mortifying endeavors of

Darcys mind over the three months that he is absent from the text. At the end of the summer,

Darcy shows that his mental exercises must have been vast considering the remarkable change in

his treatment of Elizabeth.

When Elizabeth harshly abuses Darcy during her refusal of his proposal, he must choose

whether to despise her for her impertinence or to accept her censure and attempt to change his

character. At first, his intention is unclear. She criticizes him for offending and insulting her,

for admitting that he liked her against [his] will, against [his] reason, and even against [his]

character, and for ruining, perhaps for ever, the happiness of a most beloved sister (Vol. II,

Ch. 11, p. 126). She lays his faults clearly before him, mortifying and surprising his pride. The

Mr. Darcy that we met at the beginning of the novel would not have listened to her words orreacted with anything other than indignation, but her lessons have already begun to work on him.

His letter begins to hint at a possible positive outcome to her censure. While it does not contain

an apology or a belief that he has done wrong, it does state that he [has] not yet learnt to

condemn his motives (Vol. II, Ch. 12, p. 131). This statement is extremely important. He

shows that, only a day after her rebuff of him, he has already begun to work on his character. He

already speaks of having been taught a lesson that is not fully learned yet. He is aware of what

he must do, but he has not done it. His use of yet implies that he is currently working on the

deficiencies in his character and hopes to have improvements to show in the future. He has not

yet learned to change, but he has learned that he needs to. The next time we see Darcy, he has

made a very positive improvement.

At Pemberley, the reader sees the first vestiges of change in the character of Darcy.

Upon unexpectedly meeting him, Elizabeth is amazed at the alteration in his manner since they

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last parted (Vol. III, Ch. 1, p. 163). It seems that Darcy is a very different character than theone we met earlier in the novel. The narrator repeatedly points out that he is strikingly altered,

his manners so little dignified (Vol. III, Ch. 1, p. 163-164), the change was so great (Vol. III,

Ch. 2, p. 170), and he [spoke] with such civility (Vol. III, Ch. 1, p. 164). Darcy has made a

significant change from the prideful, selfish man that appeared at the beginning of the novel.

The narrator makes sure that the reader sees a very positive change that can be attributed to the

corrective hand of Elizabeth Bennet. It is important to note that Pemberley must be part of the

reason for his altered manners. He is the master and proprietor of an extremely valuable and

influential estate. He is a king at Pemberley and is thus very comfortable there. Elizabeth has

moved from her comfortable home footing to his domain. However, even in this situation, the

change in Darcy is remarkable. He asks for Elizabeth to do him the honour of introducing him

to her friends, whom he knows to have a lower social position than his (Vol. III, Ch. 1, p. 165).

In the proposal scene, the letter and various other places in the novel, he had ridiculed her low

connections. Here, however, he particularly asks to be acquainted. When he finds them to be

her aunt and uncle, he treats them with civility, even though he had ridiculed the situation of

[Elizabeths] mothers family in his letter to her (Vol. II, Ch. 12, p. 130). Elizabeth, of course,expects him to [decamp] as fast as he could from such disgraceful companions, as the Darcy

she previously knew would have (Vol. III, Ch. 1, p. 165). Instead, he enjoys a walk around the

grounds with the group, converses politely with Mr. Gardiner, and even invites her uncle to fish

in his stream anytime he wishes. Through the rest of the novel, he continues his relationship

with the Gardiners and even enters into an important piece of business with them in the

negotiations with Wickham.

At the end of the novel, Darcy is on the most intimate terms with Elizabeths aunt and

uncle in trade, and really loved them (Vol. III, Ch. 19, p. 254). Darcy not only asks for an

introduction to these people, but pursues a relationship and a familial connection, and even

learns to love and respect them despite their inferior social position. Duckworth points to this

fact to show that Austen uses Elizabeth to connect the male members of different levels within

the aristocracy. I feel that, to this extent, it is true. She has helped Darcy correct his pride and

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he now is able to see the merits of people in a lower social situation. The Darcy that offersrespect to the Gardiners and eventually learns to love them is a very different Darcy than the one

who, in joining in the censure of the Bennets having an uncle who lives somewhere near

Cheapside, pointed out that it must materially lessen their chance of marrying men of any

consideration in the world (Vol. I, Ch. 8, p. 25). Elizabeths brutally honest portrait of his pride

and arrogance has caused him to rethink his opinion of her and her family. Early in the novel he

notes, were it not for the inferiority of her connections, he should be in some danger of falling

in love with Elizabeth (Vol. I, Ch. 10, p. 35). At this point, nothing could tempt him to seek a

relationship with someone whose family so disgusts him. However, by the end of the novel, he

actively pursues Elizabeth and happily accepts a relationship with every one of her inferior

relatives, including the new connection to his enemy, George Wickham.

His improved character shows itself even more upon his introduction of his sister

Georgiana. Here, the narrator notes that Darcy [was] determined to be pleased in visiting the

Gardiners and their niece and Elizabeth had never seen him so desirous to please (Vol. III, Ch.

2, p. 170-171). Darcy, who receives no pleasure from inferior connections and never wants to

give consequence or pleasure to others, seems to be going against his very nature in this scene.Elizabeths reproofs have touched him and he wishes to please her and her family. Here, in

Langsford, Darcy has much more at stake than he had at Hertfordshire. He is not forced into this

undesirable acquaintance by circumstance as he had been in Meryton, but actively pursues it. He

is also opening his closest family member, Georgiana, along with the rest of his family and his

valuable estate to the humiliation of inferior connections. Elizabeth is, not surprisingly,

shocked:

When she saw him thus seeking the acquaintance, and courting the good

opinion of people, with whom any intercourse a few months ago would

have been a disgrace; when she saw him thus civil, not only to herself, but

to the very relations whom he had openly disdained, and recollected their

last lively scene in Hunsford Parsonage, the difference, the change was so

great, and struck so forcibly on her mind, that she could hardly restrain her

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astonishment from being visible. Never, even in the company of his dearfriends at Netherfield, or his dignified relations at Rosings, had she seen

him so desirous to please, so free from self-consequence, or unbending

reserve as now. (Vol. III, Ch. 2, p. 170-171)

In this passage, it becomes obvious to the reader, and even to Elizabeth, who is almost too

humble to acknowledge it, that this change can only be the effect of her harsh but honest

criticism after his proposal. She notes that his difference is shocking and it cannot be traced to

him feeling more at home. She had seen him with his aunt and with his best friends, where he

should have been most at ease, yet his actions were not comparable. His mental and emotional

states have undergone a serious change. Elizabeth notices that he is actively trying to endear

himself to her and her disdainful relations. He had easily insulted them during his proposal to

her and continued to defend his beliefs about them in his letter. There seems to be no

explanation for the transformation that Darcy has undergone. He is a changed man.

Elizabeth admits the truth of her influence, even though she is almost unable to believe it.

She claims It cannot be forme, it cannot be for mysake that his manners are thus softened. My

reproofs at Hunsford could not work such a change as this (Vol. III, Ch. 1, p. 166, italics inoriginal). She acknowledges, through humble negation, that she is the cause of his dramatic

change. She offers no other possible explanation because she can see none. She does not doubt

the truth of this; she only uses negation as a form of surprise. It does not seem possible to her,

yet it is the truth. He has softened his manners because of her; her reproofs have worked upon

his heart. Here, she sees that her words have immense power to change. Not only can she teach

herself, she can also instruct others to mend their ways.

He further shows the rectitude of his mind by humbly asking her: Will you allow me, or

do I ask too much, to introduce my sister to your acquaintance during your stay at Lambton?

(Vol. III, Ch. 1, p. 166). This statement shows that he feels that he was wrong in his manner of

proposing to her. He shows extreme condescension not only in asking her to meet his sister, but

also through the imploring tone that is implicit in the words. He meekly questions whether he

ask[s] too much of Elizabeth. He allows her the chance to further mortify and humiliate him

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by refusing the acquaintance. He places himself in a very vulnerable position before her. Helowers his status in asking and opens himself up, once more, to the possible humiliation of a

refusal. Here, he acknowledges his past improprieties by allowing her the power of saying no.

This statement implies that he knows his previous actions toward her were indeed wrong, as she

had claimed, and that he wishes to rectify his mistakes. He shows that he understands if she still

hates him because of his past indiscretions and that he will accept her wishes to be completely

free from any acquaintance with him if that is what she desires. One must note that Darcy is not

merely trying to persuade her to accept a repeated advance for her hand. In fact, he notes that he

had never hoped for another chance with Elizabeth until after Lady Catherine returns from

Longbourn. He also requested that Lydia and the Gardiners keep his involvement in Lydias

wedding a secret because he does not want Elizabeth to know. He does not aid in saving Lydia

in order to please Elizabeth, because she is never supposed to know of it. He does it because he

feels guilty about his previous knowledge of Wickham and because he wishes to do something

good as atonement for his previous behavior. It appears that he is simply trying to show her that

he has changed; he has listened to her wise teachings and endeavored to correct his deficiencies.

He wants her to know that he has learned to value her opinions and corrections. He hasundertaken a soul search without any solid hope of future felicity.

Darcy directly acknowledges his humbled pride, showing the most dramatic proof of her

power over him. He claims that he was full of pride and conceit and had been taught to be

selfish and overbearing his whole life (Vol. III, Ch. 16, p. 241). He is completely honest with

her. He had faults that he had been unable to admit. Her reproaches had changed him: . . .

such I might still have been but for you, dearest loveliest Elizabeth! What do I not owe you!

You taught me a lesson, hard indeed at first, but most advantageous. By you, I was properly

humbled (Vol. III, Ch. 16, p. 241). He admits that she is the teacher and he is the pupil. He

acknowledges that she has said nothing that [he] did not deserve (Vol. III, Ch. 16, p. 239). He

admits that her words tortured him, that they forced him into a deep soul-search. She had

forced him to look at himself in a frightening new light, but he had changed he has learned his

lesson. At Pemberley, he needed her to see that [her] reproofs had been attended to, even

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before he considers having another chance with her (Vol. III, Ch. 16, p. 241). Now he is able toshow his improved mind and manners to his teacher and seek her approval in a more personal

way.

Elizabeth acts as a teacher throughout the novel. She is constantly and consistently

instructing those around her to behave in a more correct or becoming manner. She levels her

corrective influence at every one of her family members. She tries, incessantly, to teach her

mother to hold her tongue. When her mother insults Darcy for his opinion on life in the country,

Elizabeth exclaims Indeed, Mama, you are mistaken . . . You quite mistook Mr. Darcy (Vol. I,

Ch. 9, p. 30). She attempts to correct her mothers misapplied reason, while at the same time

trying to keep her from further insulting the powerful man in front of his friends. At the

Netherfield ball, in vain did Elizabeth endeavour to check the rapidity of her mothers words, or

persuade her to describe her felicity in a less audible whisper (Vol. I, Ch. 18, p. 68). Her

mother is embarrassingly voicing her opinions on the hoped-for match between Bingley and

Jane, while also loudly insulting Mr. Darcy. Elizabeth is extremely embarrassed of her and

wants to check the stream of impropriety coming from her mother. Elizabeth tells her For

heavens sake, madam, speak lower (Vol. I, Ch. 18, p. 68). She repeatedly attempts to teach hermother to behave genteelly, to speak wisely, and to engage her reason. These lessons, however,

are unheeded by her mother. She continually ignores and embarrasses her daughter, even up

until the point of her engagement to Darcy. Even then, she insults the man who Elizabeth knows

is responsible for her familys salvation.

Elizabeth also carefully attempts to school her father in some of his deficiencies. While

she respects her father and graciously submits to his will, she does point out where his reason is

faulty or where he needs to show his power more fully. When Mary, unasked, begins singing at

Netherfield, Elizabeth look[s] at her father to entreat his interference (Vol. I, Ch. 18, p. 69).

Her sister is embarrassing herself and her family and she wishes her father to put a stop to it. He

seems unwilling to make an effort on his own, so Elizabeth must remind him of his duties as the

patriarch of the family. She gives Mr. Bennet very wise and important advice regarding Lydia

going to Brighton with the Forsters:

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She could not help secretly advising her father not to let her go. Sherepresented to him all the improprieties of Lydias general behaviour, the

little advantage she could derive from the friendship of such a woman as

Mrs. Forster, and the probability of her being yet more imprudent with

such a companion at Brighton, where the temptations must be greater than

at home. (Vol. II, Ch. 18, p. 151)

He respectfully listens to her advice, but decides to let Lydia go in spite of it. Elizabeth makes a

very bold and important move. She attempts to correct her fathers ill judgment. She clearly

sees how dangerous this scheme is for both Lydia and the rest of her family. She gives him

perfect advice, prudently pointing out the follies of such a decision. She carefully prepares and

presents her argument to her father. He, however, goes against her wishes. Mr. Bennet, sadly,

learns his lesson later when Elizabeths prophecies come true. He tells her that she had been

justified in [her] advice to [him] last May, which, considering the event, shews some greatness of

mind (Vol. III, Ch. 6, p. 194). While he is slow to learn the value of Elizabeths teaching, he

does eventually accept that her advice had been perfect. However, even after this awakening,

Elizabeth must still advise him on his duties. When Mr. Gardiners letter arrives, informingthem that the pair has been discovered, most earnestly did she then intreat him to lose no more

time before he wrote his answer to their uncle. Instead of immediately writing the important

letter, he wanders aimlessly around the garden. She orders him to come back, and write

immediately. Consider how important every moment is, in this case (Vol. III, Ch. 7, p. 197).

Once again, he has been deficient in his duties as the patriarch and she is quick to remind him

what he must do. Elizabeth becomes the figure of power in this scene. Her words are

imperative: come back, write immediately, consider. She does not treat him with the deference

she normally shows her father. She is officious and powerful, ordering her father into immediate

action and he quickly responds to her commands. She receives no censure for this moment of

freedom from either her father or the author. Mr. Bennet ignored her advice once and greatly

injured her family. She will not allow him to further sacrifice their happiness by taking his time

to respond.

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Elizabeth does not only appeal to her father for interference with her sisters, she alsoconstantly tries to check Lydias and Kittys ridiculous behaviors on her own. She repeatedly

attempts to convince Lydia to hold her tongue, to behave in a more lady-like manner, and to

refrain from her constant appetite of flirting (Vol. I, Ch. 14, p. 47). After Lydia has married

Wickham and comes to visit Longbourn, she seems insensible of the harm she has caused. Lydia

remains the headstrong, thoughtless girl she had always been. She even offers to help get her

sisters married. Elizabeth reminds her of her impropriety: I thank you for my share of the

favour . . . but I do not particularly like your way of getting husbands (Vol. III, Ch. 9, p. 206).

Her words are sharp and pointed. Lydia has done a horrible and dangerous thing and needs to

recognize it. Even after Lydias marriage, when it seems much too late, Elizabeth still attempts

to correct her sisters misbehavior. She wishes, perhaps without hope, to enlighten Lydias

mind. She wants to teach all of her younger sisters how to use reason and self-control. When

Lydia is invited to Brighton and Kitty is not, in vain did Elizabeth attempt to make [Kitty]

reasonable (Vol. II, Ch. 18, p. 151). Once again, she tries to incite one of her sisters to be

reasonable. She sees that Kitty is almost as ridiculous as Lydia and tries to correct her before it

is too late. Elizabeth has always been a reasonable woman and repeatedly attempts to sway hersisters. She even makes slight attempts to correct her beloved elder sister. After Bingley has left

Netherfield, Elizabeth tells Jane that Bingleys sisters want to keep them apart. She then says,

Indeed, Jane, you ought to believe me (Vol. I, Ch. 21, p. 81). While this is not a harsh

correction, it still shows that Janes reason is faulty. Elizabeth knows her judgment is correct

and it is proven later in the novel. After acquainting Jane with Darcys side of Wickhams story,

she tells her sister You never will be able to make both of them good for any thing. Take your

choice, but you must be satisfied with only one (Vol. II, Ch. 17, p. 147). She good-heartedly

laughs at this sisters silliness. Her sister may try to think well of everybody, but she will often

prove to be wrong if she does so. Only one of these two men can be right and she feels that Jane

should see this. Elizabeth wishes for Jane to possess the reasonable mind that she does.

However, her love for her sister keeps her from any harsh criticism. She merely hints that Janes

good nature often ignores reason and even truth.

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Elizabeth even tries to teach people outside of her immediate family sphere, like LadyCatherine and Mr. Collins. When Mr. Collins discovers that Darcy is Lady Catherines nephew,

he resolves to introduce himself to the superior man. Elizabeth tries to save him from this folly

by dissuad[ing] him from such a scheme; assuring him that Mr. Darcy would consider his

addressing him without introduction as an impertinent freedom, rather than a compliment to his

aunt (Vol. I, Ch. 18, p. 66). She already understands Darcys pride and knows that Mr. Collins

imposition would only annoy the former. However, he ignores her intelligent and useful advice.

Elizabeth teaches Lady Catherine De Bourgh that she will not accept interference in her personal

affairs when she comes to Longbourn in an attempt to dissuade her from marrying Mr. Darcy.

She responds to Lady Catherines demands with:

The arguments with which you have supported this extraordinary

application have been as frivolous as the application was ill-judged. You

have widely mistaken my character, if you think I can be worked on by

such persuasions as these . . . you have certainly no right to concern

yourself in [my affairs]. (Vol. III, Ch. 14, p. 233)

Lady Catherine, who is used to getting her own way, learns that Elizabeth will not submit to herorders. Elizabeth thinks for herself and refuses to make any decisions with reference to [Lady

Catherine], or to any person so wholly unconnected with [her] (Vol. III, Ch. 14, p. 233). To

Lady Catherine, this is indeed a radical lesson. She has just learned that if her nephew marries

Elizabeth, her own power in the family will be destroyed. Her only recourse is to attempt to

persuade the nephew, with whom she fears she has too little sway. He is not only a male with an

independent fortune, but is very obstinate. Elizabeth refuses to accept her persuasions or her

command. Elizabeth chooses, instead, to remain an individual power and make her decisions

accordingly.

As I have shown in this chapter, it is Darcy who receives the largest extent of Elizabeths

lessons. Her teaching of him remains important throughout the novel. At the end of the novel, it

becomes apparent that she will continue to teach Darcy. In replying to her nieces imploring

letter regarding Darcys involvement in Lydias marriage, Mrs. Gardiner implies what she had

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long suspected: Mr. Darcy is in love with Elizabeth. In fact, she is surprised that Elizabeth doesnot already know the cause: I must confess myself surprised by your application; I did not

expect it fromyou (Vol. I II, Ch. 10, p. 208, italics in original). It is obvious that Mrs. Gardiner

already expects a marriage between Darcy and Elizabeth. This is especially important to note in

relation to what she says later in the letter regarding the man: he wants nothing but a little more

liveliness, andthat, if he marry prudently, his wife may teach him (Vol. III, Ch. 10, p. 211).

She, without a doubt, thinks that the wife will be Elizabeth. This is proven even more by the fact

that Elizabeth is described as lively throughout the novel. Mrs. Gardiner points out a very

important theme at this point. She knows that Elizabeth already has a propensity for teaching

those around her and will never stop trying to instruct. She knows that, as a wife, Elizabeth will

continue to instruct and improve her husband. What Mrs. Gardiner does not know, however, is

how much Elizabeth has already taught Mr. Darcy since the aunts acquaintance with him began

so late in the novel. It becomes obvious that Mrs. Gardiner is right; Elizabeth will marry Darcy

and she will continue to teach him.

Directly after they become engaged, Elizabeth is already putting her plan into action.

She tells him that he must learn some of [her] philosophy (Vol. III, Ch. 16, p. 240). He hasjust admitted that he loves her and she is already preparing the next lesson. A few moments

later, after he has admitted how much he learned from Elizabeth and tells her that he confessed

to Bingley, she desires to laugh at him for the ridiculous amount of control he exercised over his

friend. However, she remembered that he had yet to learn to be laught at, and it was rather too

early to begin (Vol. III, Ch. 16, p. 243). She is prepared to be his wife and even more prepared

to make him worthy of being her husband. Here she repeats Darcys words in the letter, where

he claims he had not yet learnt to condemn [his motives] (Vol. II, Ch. 12, p. 131). At the end

of the novel, he has learned to despise his previous motives. He has reunited Jane and Bingley, a

very significant step for such a man. He, who felt in separating Bingley and Jane that towards

his friend he [had] been kinder than towards [himself], now admits that he was wrong,

apologizing not only to Bingley but also to Elizabeth (Vol. II, Ch. 11, p. 126). He has rectified

the painful situation and gained control over his pride, so she finds something else that he has

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yet to learn. Once again, the use of yet implies that this will take place in the future. Shewill teach her husband to be laught at; he will learn to accept her correcting ridicule. She knows

that he has made many positive and difficult changes in the last few months. She also knows

that they have many other adjustments to make, so she decides it is too early to begin (Vol. III,

Ch. 17, p. 243). However, her plan is already set; he is not yet perfect and she has discovered

what she must teach him next. Later, we discover that she even extends these lessons to include

his sister, Georgiana, who by Elizabeths instructions . . . began to comprehend that a woman

may take liberties with her husband (Vol. III, Ch. 19, p. 253). Her own younger sisters have

failed to follow her example in having active and reasonable minds. However, Georgiana is

ready to learn all that she can from her intelligent, lively and reasonable sister-in-law.

This novel explores the individual womans power, centering itself on the experiences of

an intelligent individual woman. Elizabeth is not only the moral center of the novel, acting as

teacher and judge, but she is also the thematic center. Her life, her attempts to correct folly in

human nature and her examination of her own mind are the true center of this novel. Her

knowledge of humanity and her understanding of society and the class system are perfect. She

has amazing insight into the human mind and is able to see how to improve not only theindividual, but also society as a whole. She does not fit into stereotypes; she breaks the rules

when they threaten her individualism, but follows them as much as is necessary to continue to

function within her social position. She is one of the most intelligent, liberal and reasonable

creatures in Austen and continues to push her boundaries. When Elizabeth playfully asks Darcy

why he fell in love with her, she jokingly says Now be sincere; did you admire me for my

impertinence? Darcy sums up the entire novel in his answer to her: For the liveliness of your

mind, I did (Vol. III, Ch. 18, p. 248). Not only does Darcy love her for the liveliness of her

mind, but Austens readers also love her, and the novel as a whole, for this same reason. Her

individualism, lively mind and her hard work help her find a worthy husband. However, this

strong individual does not simply succumb to a romance plot. She must find a decent man and

mold him into a good husband and social creature; Darcy, too, is imperfect and must be shaped

toward the perfectible. Considering her plans for their future (and his future instruction), her

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superior ability of self-reflection, and her position as instructor throughout the novel, it isapparent that she has the power in the relationship. His money and position give her a

considerable amount of status and prestige, but he will still be at the mercy of her superior mind

and her superior sense of right and wrong.

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CHAPTER 2

EMMA WOODHOUSE AS PROGRESSIVE HEROINE

In the world created by Jane Austen, one finds it necessary to look at the importance of

the moral life of her heroines; her most remarkable characters possess deep inner resources and

consistently examine and correct their motives, emotions and minds. InJ ane Austen and the

War of Ideas,Marilyn Butler claims that Jane Austen sees perfectibility as a condition of

human life, but not perfection (259) and cites the Victorian critic, Richard Simpson, who shows

that for her characters the moral life is a continual process (260). Simpson claims that Austen

contemplates virtues, not as fixed quantities, or as definable qualities, but as continual struggles

and conquests, as progressive states of mind, advancing by repulsing their contraries, or losing

ground by being overcome (259). This statement makes the moral struggles of Austens

heroines to have the highest value in the novels. Austen does not desire perfection from her

characters; she creates strong-willed, intelligent characters that strive toward a perfection they

can never meet. All of her heroines possess excellent minds, which are capable of impressive

feats of rationality and understanding. These female characters use their superior intellects in

order to improve themselves; they attempt to correct their faults through careful introspection.

The desire to learn and grow that each of these heroines possess manifests itself not only in a

desire to improve ones self, but also in the heroines attempts to teach those around them. In

this chapter, I argue that Emma is the embodiment of Butlers notion of perfectibility and the

character whom Austen most praises for her attempts toward this moral life.

For most readers, Emma is the least positive and most tyrannical of all Austens heroines.

She is a snob who plays social dictator and continually appoints herself as queen of the town ofHighbury. These consistently negative readings of Emma make her the perfect character for a

study of moral life. Throughout the novel, we see Emma go through myriad changes brought

about by her own desire for improvement. She notices, accepts and, to some degree, corrects the

flaws of which she is accused by readers and fellow characters alike. What is important,

however, is that while she respects the advice of Mr. Knightley and her governess and friend,

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Mrs. Weston, it is ultimately her understanding of right and thorough searching of her own mindand emotions that lead to positive change.

We continually see Emma act as moral center and teacher in her own household. She

acts as guide to her valetudinarian father, acceding to his whims while keeping him from

dangerous ruminations. While she does not correct her father through argumentation, as

Elizabeth Bennet does her own father inPride and Prejudice, Emma corrects her father through

action. She recognizes his triggers and works to correct and control his outbursts. After Miss

Taylors wedding, Emma takes special pains to remain cheerful, because [h]is spirits required

support (Vol. I, Ch. 1, p. 3). She carefully monitors her behavior, and others actions around

her father in order to give him the most comfort. When her sister and her father begin talking

about Isabellas going to the sea for the health of her children, Emma immediately jumps in,

feeling this to be an unsafe subject (Vol. I, Ch. 12, p. 66). She realizes that they are engaged

in a topic that will soon stress her father and redirects the conversation: My dear Isabella, I have

not heard you make one inquiry after Mr. Perry yet; and he never forgets you and when the

subject returns to the dangerous discussion of the sea, she corrects her sister claiming You seem

to have forgotten Mrs. and Miss Bates . . . I have not heard one inquiry after them (Vol. I, Ch.12, p. 66). Throughout the scene, she mostly sits and surveys. She pays careful attention to any

conversation directed at her father so that she can join the conversation at crucial moments to

correct topics before he is upset. Here, we see Emma as the careful teacher and director, making

sure all are comfortable and that her own sister and John Knightley treat her father with the

forbearance and care he requires. When she sees John begin to get angry with Isabella in

commenting on his looks, a topic that will certainly upset both her father and sister, she cries that

she did not thoroughly understand what you were telling your brother . . . about your friend Mr.

Grahams intending to have a baliff from Scotland, to look after his estate (Vol. I , Ch. 12, p.

68). She immediately jumps into the brothers conversation, trying to pull Johns attention away

from her father and Isabella. She shows herself to be very carefully engaged in scene around her

and even shows her intellectual dexterity in entering so easily into a topic of law that she had

only been half listening to.

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Marilyn Butler points out another scene of Emmas care of her father through decisivelanguage, this time with the help of Mr. Knightley. We see John unfeelingly upset Mr.

Woodhouse when he announces the snow that will likely topple one of the carriages. After Mr.

Woodhouse turns to Emma for comfort; and her assurances of safety, she and Knightley

immediately create a plan of action which is in stark contrast to the hyperbolic tirade of John

Knightley and the ignorance of Mr. Weston (Vol. I, Ch. 15, p. 83). In four quick lines, they

decide upon immediate action with Mr. Knightley asking Shall I ring the bell? and Emma

succinctly answering Yes, do (Vol. I, Ch. 15, p. 84). While the others engage in a scene that

will soon become hysterical, Emma shows her continual solicitude for her father and, with Mr.

Knightleys assistance, plans a course of action and immediately sets that action into motion.

The change in Harriet Smith also shows Emmas prowess for teaching. Due to Emmas

involvement, Harriet offers a very real (and progressive) danger to the social order of Highbury.

Emma, through careful teaching and direction, fashions a woman who almost usurps her role as

leader of the community and wife of Mr. Knightley. It does not seem implausible that she could

win the hand of Mr. Knightley. Emma has succeeded in raising Harriets position in society.

She offers Mr. Elton as a suitable husband, even though he feels she is beneath him. Sheconsiders Harriet and Frank, even though, at one time, she believed herself to be in love with

him. She does not seem worried about societal boundaries with regard to Harriet. In fact, Emma

completely believes that she has no chance with Mr. Knightley herself, because she thinks him

justifiably attached to Harriet. While this subversive element is seemingly contained by

Harriets marriage to her first suitor, Robert Martin, we see that Emma believes It would be a

great pleasure to know Robert Martin (Vol. III, Ch. 18, p. 313), even though she had claimed

earlier that she could not visit a Harriet Martin. Emma has turned Harriet into a more thoughtful,

decisive and better informed young woman a woman who will now be an asset to Abbey Mill

Farm.

Emma even corrects Mr. Knightleys opinion of Harriet Smith. Early in the novel, he

claims that She is not a sensible girl, nor a girl of any information. She has been taught nothing

useful (Vol. I, Ch. 8, p. 39) and he continually reprimands Emma for her interference in

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Harriets affairs. He even warns her against trying to match Harriet with Mr. Elton, who is notat all likely to make an imprudent match and does not mean to throw himself away (Vol. I,

Ch. 8, p. 42). Here, Knightley shows his disdain for Harriet Smith and believes Mr. Elton would

be throwing himself away in marrying Harriet. This also demonstrates Knightleys commitment

to masculine intellectual superiority. Emma and Harriet might consider imprudent matches (or

refuse prudent ones), but Mr. Elton will do no such thing. However, Knightley learns that Emma

had judged Harriet and Mr. Elton better than he had. However, after Mr. Knightley dances with

Harriet at the ball in order to protect her from the Eltons snub, Mr. Knightley concedes that he

was wrong about Harriet. He informs Emma that she

[ . . .] would have chosen for [Mr. Elton] better than he has chosen for himself

Harriet Smith has some first-rate qualities that Mrs. Elton is totally without. An

unpretending, single-minded, artless girl infinitely to be preferred by a man of

sense and taste to such a woman as Mrs. Elton. I found Harriet more conversable

than I expected. (Vol. III, Ch. 2, p. 216)

He realizes that he had been wrong in his opinion of Harriet and his belief in Emma only doing

her harm. He acknowledges that he had underestimated her intellectual abilities; he now sees hertalents for discernment. He sees the improvements Emma has brought about and recognizes that

Harriet is a worthier creature, and Emma a much better teacher, than he had given them credit

for.

During the Donwell Abbey outing, he takes this one step further in singling out Harriet,

which also shows the corrections he is undertaking due to the work of Emma. Emma sees

Harriet and Mr. Knightley walking together and remembers a time when he would have scorned

her as a companion, and turned from her with little ceremony. Now they seemed in pleasant

conversation (Vol. III, Ch. 6, p. 236). She has not only improved Harriet, but has corrected Mr.

Knightleys negative opinion of her. She has shown her social group, and particularly Mr.

Knightley, how a daughter of nobody knows whom can become a good companion for anyone in

decent society. When Emma joins them, she finds them surveying Abbey-Mill Farm, which

shows an even greater change in Mr. Knightley due to Emmas continual correction. He seems

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here to have taken over the role of matchmaker for Harriet Smith in trying to reanimate herinterest in the farmer of Abbey-Mill Farm. While he still desires the match that Emma had

disdained earlier, he shows the same solicitude for Harriets (and Robert Martins) happiness

that he has seen to be so important to Emma.

Many critics discuss the Box Hill episode as the scene where Emmas behavior is most

deplorable and shows her need for Mr. Knightleys reprimand. However, I feel that the Box Hill

episode should elicit sympathy for Emma. She is in a party which was taken over by the

ignorant Mr. Weston, a close but undiscerning friend of Emmas, who consistently disturbs

Emmas happiness, this time by inviting Mrs. Elton, effectively handing control of the party over

to her: on hearing from Mr. Weston that he had been proposing to Mrs. Elton . . . that the two

parties [Emmas and Mrs. Eltons] should unite, and go together (Vol. III, Ch. 6, p. 230).

Emma must submit to the new arrangement because she knows that Mr. Weston must already

be perfectly aware of her dislike for Mrs. Elton and she admits that reminding him of her

feelings was not worth bringing forward again: it could not be done without a reproof to him,

which would be given pain to his wife (Vol. III, Ch. 6, p. 230). She does not want to correct

Mr. Weston because it would hurt her dear friend Mrs. Weston would be embarrassed by herhusbands actions, and a reproof from Emma might imply that Mrs. Elton has failed to properly

correct her husbands social blunder. Even though Emma has power through her social position,

she still must find a male to escort her to Box Hill, which she does in Mr. Weston. But, in giving

up her social power to a man here, she faces the problem of submitting to his lack of careful

consideration. The large party then breaks into factions upon arrival and all seem in particularly

low spirits. The reasons for the disjointed groups, with the sole exception of the Eltons, are

completely unknown to Emma and most other characters.

It falls on Emma and Frank Churchill to enliven the party, who begin with silly flirtation.

Emma soon notices that this has gone on too long and (lowering her voice) which she does

nowhere else in the novel she tells him nobody speaks except ourselves, and it is rather too

much to be talking nonsense for the entertainment of seven silent people (Vol. III, Ch.7, p.

241). Emma tries to reign in Churchills gallantry, recognizing the problems it raises within

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their surrounding group. While she does not know the immense pain their flirtation is inflictingon at least one (but most likely two) other parties, she still realizes that their loud activities are

the only thing that the seven group members are watching and she seems to know that they are

creating an embarrassing spectacle. Frank immediately jumps at the opportunity to expand their

games and places Emma at the head of the group. He then embarrasses her in claiming I am

ordered by Miss Woodhouse (who, wherever she is, presides,) to say, that she desires to know

what you are all thinking of (Vol. III, Ch. 7, p. 242). For the second time at Box Hill, Emma

must submit to a mans assumption of her power; she cannot control Frank because he will not

listen to her instructions (although we later learn that hewill soon accede to Janes corrections).

Emma cannot control Franks silly game, even though the game, ironically, depends upon her

social power. She loses control because she cannot silence Frank and thus becomes an innocent

bystander watching others turn against her. Frank Churchills unfeeling assumption of Emmas

voice singles her out for censure from various parties, censure that would not have been

administered if Emma had, in fact, been the leader of the games. Mrs. Elton refuses to play any

game where Emma is singled out even though she is not singled out of her own accord. Mr.

Knightley coldly asks Is Miss Woodhouse sure that she would like to hear what we are allthinking of? (Vol. III, Ch. 7, p. 242). This statement is aimed right at Emma and implies anger

it insults and embarrasses Emma, yet she can have very little understanding of the weight

behind Mr. Knightleys comment. He has no claim on her and he does not know, yet, of the

prior understanding between Jane and Frank, so he does not have the right of correction here.

This comment is meant to hurt Emma and publicly humiliate her for her open flirtation with

Frank. Her answer to Mr. Knightley shows her discomfort and that she understands his meaning,

to some degree. She laughs as carelessly as she could, attempting to cover the disturbing

implications and the uncomfortable moment and even looks for help, glancing at Mr. Weston

and Harriet, claiming that [t]here are one or two, perhaps . . . whose thoughts I might not be

afraid of knowing (Vol. III, Ch. 7, p. 242). Here, she applies to the only allies she could hope

for, but their dullness prevents either of them from understanding the situation or coming to her

aid. She has already lost Mr. Knightley as an ally and her only other intellectual ally in such a

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party, Mrs. Weston, remains at Hartfield, caring for her own sickly father. Instead of support,she receives more abuse from Mrs. Elton. Mrs. Elton cries that It is the sort of thing . . . whichI

should not have thought myself privileged to inquire into. Though, perhaps, as theChaperonof

the party I never was in any circle (Vol. III, Ch. 7, p. 242). She ambiguously reprimands

Emma for her presumption and claims herself the chaperone of the party which Emma set into

motion. Immediately following this outburst, Frank reanimates the game, using even more

commanding language. He notices that most of them are affronted, and are taking their

annoyance out on Emma, but he claims he is ordered by Miss Woodhouse to change the game

and tells the group that Emma requires and demands to be entertained (Vol. III, Ch. 7, p.

242). It is during this moment of desperation, in the immediate aftermath of these harsh remarks

aimed at a disembodied Emma, that Emma lets her guard down and insults Miss Bates.

While this insult does cause pain to Miss Bates and the sympathetic reader, the moment

offers a good deal more insight into the social situation on Box Hill. Emma chooses the one

character in the group who could possibly stand up to her censure. She has l

brande berrys thesis

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