I am sorry about my delay in posting this chapter. It got lost between my blog switchover, but now I am back in the groove and eager to discuss THE PROPOSAL!
What can I say that hasn’t been discussed already? I thought a lot about how to present this chapter in an interesting way, and I’ve decided to explore and share a few, hopefully, less-frequently seen items for our group, and to offer a giveaway too, because I just couldn’t help myself when I saw our giveaway prize!
As I shared a while back, I participated in a free online course titled:LITERATURE OF THE ENGLISH COUNTRY HOUSE at THE UNIVERSITY OF SHEFFIELD, where participants explored the country house and how it’s played a pivotal role in numerous pieces of literature. There also were places where we learned more about the close reading of texts and stylistics, which is an approach to literary or non-literary texts using approaches from language and linguistics. In stylistics, readers explore the language and style of a text and think about why is it written the way it is written by the author.
Readers may also explore single words, or a phrase, or move on to a whole sentence and think about why an author has written a scene like that when there were other options available, as well as what are the effects of that writing move. Eventually, readers can build-up even beyond the sentence to think about things like the point of view through which we read a text. (Cited from Literature of the Country House, Future Learn)
Here’s a brief video that describes Stylistics:
One of the innovations in literature that Jane Austen became known for was one particular stylistic technique called free indirect discourse, so I thought it would be interesting if we could look a little more closely at how she uses free indirect discourse in her writing, using this proposal scene as a good starting point. Free indirect discourse can be described as :
A narrative style which is used for the representation of spoken words or thoughts. It typically appears in fictional prose when a character’s words or thoughts infiltrate the third-person narrative, so that the perspective shifts from that of the narrator to that of the character.
Crucially, the style is not explicitly announced, and the speech or thought is not directly attributed to the character. Instead, the reader has to rely on a number of stylistic cues to determine whether the character’s point of view is present.
These cues include:
- Exclamations and questions
- Subjective or evaluative language which indicates the character’s opinion
- Markers of space and time from the character’s perspective
Sometimes in free indirect discourse there are no cues in the text suggesting the character’s point of view, and the style can appear indistinguishable from narrative report. In such cases the reader has to rely on the context of the surrounding sentences to determine whether or not the character’s perspective is present. The ambiguity of free indirect discourse is in fact one of its key features, and one of the reasons why it has been so popular in the history of the novel. Its subtle mixture of narrator and character allows writers to create a variety of effects, from empathy for the character when the two viewpoints seem to merge, to an ironic distance when it is possible to recognise some divergence between them. Both a character’s spoken words and his or her consciousness can be represented in free indirect discourse; the style is therefore often divided into free indirect speech and free indirect thought.(Cited from Literature of the Country House, Future Learn)
I thought it was important to highlight this because before Jane Austen’s work, this style of writing is rarely found in extended parts of English novels, and I believe this unique style of communicating the characters’ thoughts and feelings is part of what brings us such a strong sense of pleasure when we read Austen’s stories. Enjoy the proposal…
When they were gone, Elizabeth, as if intending to exasperate herself as much as possible against Mr. Darcy, chose for her employment the examination of all the letters which Jane had written to her since her being in Kent. They contained no actual complaint, nor was there any revival of past occurrences, or any communication of present suffering. But in all, and in almost every line of each, there was a want of that cheerfulness which had been used to characterise her style, and which, proceeding from the serenity of a mind at ease with itself and kindly disposed towards everyone, had been scarcely ever clouded. Elizabeth noticed every sentence conveying the idea of uneasiness, with an attention which it had hardly received on the first perusal. Mr. Darcy’s shameful boast of what misery he had been able to inflict, gave her a keener sense of her sister’s sufferings. It was some consolation to think that his visit to Rosings was to end on the day after the next—and, a still greater, that in less than a fortnight she should herself be with Jane again, and enabled to contribute to the recovery of her spirits, by all that affection could do.
She could not think of Darcy’s leaving Kent without remembering that his cousin was to go with him; but Colonel Fitzwilliam had made it clear that he had no intentions at all, and agreeable as he was, she did not mean to be unhappy about him.
While settling this point, she was suddenly roused by the sound of the door-bell, and her spirits were a little fluttered by the idea of its being Colonel Fitzwilliam himself, who had once before called late in the evening, and might now come to inquire particularly after her. But this idea was soon banished, and her spirits were very differently affected, when, to her utter amazement, she saw Mr. Darcy walk into the room. In an hurried manner he immediately began an inquiry after her health, imputing his visit to a wish of hearing that she were better. She answered him with cold civility. He sat down for a few moments, and then getting up, walked about the room. Elizabeth was surprised, but said not a word. After a silence of several minutes, he came towards her in an agitated manner, and thus began:
“In vain I have struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you.”
Elizabeth’s astonishment was beyond expression. She stared, coloured, doubted, and was silent. This he considered sufficient encouragement; and the avowal of all that he felt, and had long felt for her, immediately followed. He spoke well; but there were feelings besides those of the heart to be detailed; and he was not more eloquent on the subject of tenderness than of pride. His sense of her inferiority—of its being a degradation—of the family obstacles which had always opposed to inclination, were dwelt on with a warmth which seemed due to the consequence he was wounding, but was very unlikely to recommend his suit.
In spite of her deeply-rooted dislike, she could not be insensible to the compliment of such a man’s affection, and though her intentions did not vary for an instant, she was at first sorry for the pain he was to receive; till, roused to resentment by his subsequent language, she lost all compassion in anger. She tried, however, to compose herself to answer him with patience, when he should have done. He concluded with representing to her the strength of that attachment which, in spite of all his endeavours, he had found impossible to conquer; and with expressing his hope that it would now be rewarded by her acceptance of his hand. As he said this, she could easily see that he had no doubt of a favourable answer. He spoke of apprehension and anxiety, but his countenance expressed real security. Such a circumstance could only exasperate farther, and, when he ceased, the colour rose into her cheeks, and she said:
“In such cases as this, it is, I believe, the established mode to express a sense of obligation for the sentiments avowed, however unequally they may be returned. It is natural that obligation should be felt, and if I could feel gratitude, I would now thank you. But I cannot—I have never desired your good opinion, and you have certainly bestowed it most unwillingly. I am sorry to have occasioned pain to anyone. It has been most unconsciously done, however, and I hope will be of short duration. The feelings which, you tell me, have long prevented the acknowledgment of your regard, can have little difficulty in overcoming it after this explanation.”
Mr. Darcy, who was leaning against the mantelpiece with his eyes fixed on her face, seemed to catch her words with no less resentment than surprise. His complexion became pale with anger, and the disturbance of his mind was visible in every feature. He was struggling for the appearance of composure, and would not open his lips till he believed himself to have attained it. The pause was to Elizabeth’s feelings dreadful. At length, with a voice of forced calmness, he said:
“And this is all the reply which I am to have the honour of expecting! I might, perhaps, wish to be informed why, with so little endeavour at civility, I am thus rejected. But it is of small importance.”
“I might as well inquire,” replied she, “why with so evident a desire of offending and insulting me, you chose to tell me that you liked me against your will, against your reason, and even against your character? Was not this some excuse for incivility, if I was uncivil? But I have other provocations. You know I have. Had not my feelings decided against you—had they been indifferent, or had they even been favourable, do you think that any consideration would tempt me to accept the man who has been the means of ruining, perhaps for ever, the happiness of a most beloved sister?”
As she pronounced these words, Mr. Darcy changed colour; but the emotion was short, and he listened without attempting to interrupt her while she continued:
“I have every reason in the world to think ill of you. No motive can excuse the unjust and ungenerous part you acted there. You dare not, you cannot deny, that you have been the principal, if not the only means of dividing them from each other—of exposing one to the censure of the world for caprice and instability, and the other to its derision for disappointed hopes, and involving them both in misery of the acutest kind.”
She paused, and saw with no slight indignation that he was listening with an air which proved him wholly unmoved by any feeling of remorse. He even looked at her with a smile of affected incredulity.
“Can you deny that you have done it?” she repeated.
With assumed tranquillity he then replied: “I have no wish of denying that I did everything in my power to separate my friend from your sister, or that I rejoice in my success. Towards him I have been kinder than towards myself.”
Elizabeth disdained the appearance of noticing this civil reflection, but its meaning did not escape, nor was it likely to conciliate her.
“But it is not merely this affair,” she continued, “on which my dislike is founded. Long before it had taken place my opinion of you was decided. Your character was unfolded in the recital which I received many months ago from Mr. Wickham. On this subject, what can you have to say? In what imaginary act of friendship can you here defend yourself? or under what misrepresentation can you here impose upon others?”
“You take an eager interest in that gentleman’s concerns,” said Darcy, in a less tranquil tone, and with a heightened colour.
“Who that knows what his misfortunes have been, can help feeling an interest in him?”
“His misfortunes!” repeated Darcy contemptuously; “yes, his misfortunes have been great indeed.”
“And of your infliction,” cried Elizabeth with energy. “You have reduced him to his present state of poverty—comparative poverty. You have withheld the advantages which you must know to have been designed for him. You have deprived the best years of his life of that independence which was no less his due than his desert. You have done all this! and yet you can treat the mention of his misfortune with contempt and ridicule.”
“And this,” cried Darcy, as he walked with quick steps across the room, “is your opinion of me! This is the estimation in which you hold me! I thank you for explaining it so fully. My faults, according to this calculation, are heavy indeed! But perhaps,” added he, stopping in his walk, and turning towards her, “these offenses might have been overlooked, had not your pride been hurt by my honest confession of the scruples that had long prevented my forming any serious design. These bitter accusations might have been suppressed, had I, with greater policy, concealed my struggles, and flattered you into the belief of my being impelled by unqualified, unalloyed inclination; by reason, by reflection, by everything. But disguise of every sort is my abhorrence. Nor am I ashamed of the feelings I related. They were natural and just. Could you expect me to rejoice in the inferiority of your connections?—to congratulate myself on the hope of relations, whose condition in life is so decidedly beneath my own?”
Elizabeth felt herself growing more angry every moment; yet she tried to the utmost to speak with composure when she said:
“You are mistaken, Mr. Darcy, if you suppose that the mode of your declaration affected me in any other way, than as it spared me the concern which I might have felt in refusing you, had you behaved in a more gentlemanlike manner.”
She saw him start at this, but he said nothing, and she continued:
“You could not have made the offer of your hand in any possible way that would have tempted me to accept it.”
Again his astonishment was obvious; and he looked at her with an expression of mingled incredulity and mortification. She went on:
“From the very beginning—from the first moment, I may almost say—of my acquaintance with you, your manners, impressing me with the fullest belief of your arrogance, your conceit, and your selfish disdain of the feelings of others, were such as to form the groundwork of disapprobation on which succeeding events have built so immovable a dislike; and I had not known you a month before I felt that you were the last man in the world whom I could ever be prevailed on to marry.”
“You have said quite enough, madam. I perfectly comprehend your feelings, and have now only to be ashamed of what my own have been. Forgive me for having taken up so much of your time, and accept my best wishes for your health and happiness.”
And with these words he hastily left the room, and Elizabeth heard him the next moment open the front door and quit the house.
The tumult of her mind, was now painfully great. She knew not how to support herself, and from actual weakness sat down and cried for half-an-hour. Her astonishment, as she reflected on what had passed, was increased by every review of it. That she should receive an offer of marriage from Mr. Darcy! That he should have been in love with her for so many months! So much in love as to wish to marry her in spite of all the objections which had made him prevent his friend’s marrying her sister, and which must appear at least with equal force in his own case—was almost incredible! It was gratifying to have inspired unconsciously so strong an affection. But his pride, his abominable pride—his shameless avowal of what he had done with respect to Jane—his unpardonable assurance in acknowledging, though he could not justify it, and the unfeeling manner in which he had mentioned Mr. Wickham, his cruelty towards whom he had not attempted to deny, soon overcame the pity which the consideration of his attachment had for a moment excited. She continued in very agitated reflections till the sound of Lady Catherine’s carriage made her feel how unequal she was to encounter Charlotte’s observation, and hurried her away to her room.
As you can see in the two examples below, free, independent discourse is used to reveal Elizabeth’s emotions after the proposal.
“The tumult of her mind, was now painfully great. She knew not how to support herself, and from actual weakness sat down and cried for half-an-hour… That she should receive an offer of marriage from Mr. Darcy!”
It’s giveaway time! I saw this Austenesque mug with Darcy’s infamous marriage proposal and I just knew I’d love to give it away to a Just Jane 1813 reader!
To enter this giveaway, leave a comment on this post by midnight ET on September 4. The winner will be announced on this blog on September 5, 2016.
This is a wonderful video of Wickham, I mean Adrian Lukis and Caroline Langrishe performing as Mr. Darcy and Elizabeth from the show, An Evening with Jane Austen, last September. This fall in Brighton, author Catherine Curzon will introduce the performance and will sign copies of her book, Life in the Georgian Court.
Isn’t it a hoot seeing Adrian as Darcy?
Book Riot has written an article analyzing three different proposal scenes from three different Pride and Prejudice scenes of Mr. Darcy’s first marriage proposal.
For readers who love to see the BBC 1995 scene of Mr. Darcy’s proposal, here it is:
I hope you enjoyed this post and I really look forward to all of your comments, thoughts, and anything else that you wish to share with us!