Thursday, February 12, 2015

The Role of Perception in Pride and Prejudice



After reading Susan Morgan’s critical essay, the juxtaposition of Elizabeth and Jane has come into clearer focus for me. Jane ventures little risk in waiting for things to happen to her rather than initiating the action. Her philosophic position is to be patient and not rush to judgment. She allows things to happen and processes  information before forming her judgments about them. Jane allows life to come to her rather than forcing the action. Morgan says of Jane: “She has never deliberately chosen involvement over clarity” (345). And yet, there is a price to be paid for such passivity. Does clarity come from remaining philosophically motionless?

By contrast, the traits of character that contemporary readers find so appealing in Elizabeth—and I include myself in that group—embrace a quick wit and snap judgments without due consideration of either facts or circumstances. Morgan concludes: “Austen’s major interest is always with those whose connections to reality, in terms of knowledge and goodness, are at once more questionable and more difficult” (345). Human relationships are complex and constantly evolving. Ironically, perceptiveness, which is also one of Elizabeth’s strong suits, can only be gained through involvement. The same quick wit that gets Elizabeth into trouble also teaches her about life. It is simultaneously a bane and a blessing. 

I think that Austen’s literary intention in Pride and Prejudice is to demonstrate that there are no absolute truths. Areas of gray are more extensive than those of clarity or black and white. Ambiguity is the norm. No knowledge is complete, and people’s actions must necessarily occur in the absence of fixed truth. Knowledge and maturity are not always gained by rapid leaps, but often incrementally over time. Character is revealed by how people react to one another and to shifting circumstances that are often beyond our control. 

By the end of the novel Jane and Elizabeth arrive at a similar, but presumably temporary understanding of life, but by radically different means. It requires wisdom to learn about the character of other people without judging them. For Elizabeth, this comes from trying to see things from the point of view of other people, as well as her own.

2 comments:

  1. This is a great observation.

    I agree that Austen's passivity sacrifices clarity opposed to Hemingway's direct writing style. However, I think in this case it makes sense. You never truly know what other people are thinking, which has revisited writings since Chaucer and Shakespeare. I think if Austen had written her stories in a more direct fashion it would have isolated her writings in a negative way. I think that is why Austen showed the more involved Elizabeth as the black sheep of society.

    I know Morgan argued Austen's books were not about society and which side was right, but I feel especially in Pride and Prejudice it is very hard to get away from that theme.

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  2. Love this post and Danielle's comment. That Morgan article is difficult, but so smart and really makes you think about Austen's choices as she completed this novel. Dr. Messenger and I were talking today about Austen and endings. It's got me thinking about how novels (at least before post-modernism) demanded--in their very form--a kind of ending. And that closed nature form of the genre means that possibilities have to be closed, choices have to be made, etc. I like Morgan's reading because it reminds us of a way to see the ending as less closed/more open.

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