“내 당돌함 때문에 나를 좋아했나요?”: 『오만과 편견』의 새로움과 낯익음
Did You Admire Me for My Impertinence?”: A Reading of Pride and Prejudice
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In this essay, I argue that Elizabeth Bennet, the witty, vivacious, and satirical heroine in Jane Austen’s Pride and Prejudice, inherits the tradition of ‘a strong woman’ in the genre of comedy (particularly Restoration comedy) before the novel. Feminist literary historians like Jane Spencer regard Pride and Prejudice as a novel that fundamentally succeeds to ‘the didactic tradition of reformed heroine,’ the central tradition of eighteenth-century women novelists. Yet Elizabeth stands apart from ‘sentimental heroines’ as well as ‘reformed heroines,’ two representative heroines in eighteenth-century novels. Rather, she looks similar to ‘strong heroines’ in comedy, such as Rosalind in As You Like It, Hellena in The Rover, or Millament in The Way of the World, in that she is witty, independent, or subversive, and pursues her happiness. Elizabeth Bennet does not accept the norm of ‘an ideal woman’ portrayed in the conduct books, but she resists not only arrogant male prerogative but also conceitful high-handedness of the upper class. Elizabeth’s challenge to Darcy’s male privilege and his class hauteur, as is seen in her defiance of the implication of his silence in the Netherfield party scene, however, turns out to be the starting point of Darcy’s admiration of her. Their marriage is not a reward for a reformed heroine but rather the triumph of Elizabeth’s female “liveliness” over Darcy’s pride in class and sex. What Georgiana, Darcy’s sister, learned from the marriage illustrates how their marriage is not a conservative kind but a genuinely carnivalesque one.
Abstract
In this essay, I argue that Elizabeth Bennet, the witty, vivacious, and satirical heroine in Jane Austen’s Pride and Prejudice, inherits the tradition of ‘a strong woman’ in the genre of comedy (particularly Restoration comedy) before the novel. Feminist literary historians like Jane Spencer regard Pride and Prejudice as a novel that fundamentally succeeds to ‘the didactic tradition of reformed heroine,’ the central tradition of eighteenth-century women novelists. Yet Elizabeth stands apart from ‘sentimental heroines’ as well as ‘reformed heroines,’ two representative heroines in eighteenth-century novels. Rather, she looks similar to ‘strong heroines’ in comedy, such as Rosalind in As You Like It, Hellena in The Rover, or Millament in The Way of the World, in that she is witty, independent, or subversive, and pursues her happiness. Elizabeth Bennet does not accept the norm of ‘an ideal woman’ portrayed in the conduct books, but she resists not only arrogant male prerogative but also conceitful high-handedness of the upper class. Elizabeth’s challenge to Darcy’s male privilege and his class hauteur, as is seen in her defiance of the implication of his silence in the Netherfield party scene, however, turns out to be the starting point of Darcy’s admiration of her. Their marriage is not a reward for a reformed heroine but rather the triumph of Elizabeth’s female “liveliness” over Darcy’s pride in class and sex. What Georgiana, Darcy’s sister, learned from the marriage illustrates how their marriage is not a conservative kind but a genuinely carnivalesque one.
참고문헌 (24)
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- "Did You Admire Me for My Impertinence?"
- "A Reading of Pride and Prejudice"
- "A Reading of Pride and Prejudice"