(Luận văn thạc sĩ) a study on historical and social background and the newness of language use in ‘pride and prejudice’ by jane austen m a thesis

VIETNAM NATIONAL UNIVERSITY, HANOI Hanoi University of Languages and International Studies Faculty of Post-graduate studies **************** NGUYỄN KIM OANH A Minor thesis on: A STUDY ON HISTORICAL AND SOCIAL BACKGROUND AND THE NEWNESS OF LANGUAGE USE IN ‘PRIDE AND PREJUDICE’ BY JANE AUSTEN (NGHIÊN CỨU CƠ SỞ LỊCH SỬ, XÃ HỘI VÀ TÍNH MỚI CỦA VIỆC SỬ DỤNG NGƠN NGỮ TRONG TÁC PHẨM „KIÊU HÃNH VÀ ĐỊNH KIẾN‟ CỦA JANE AUSTEN) Field: Linguistics Code: 602215 HANOI – DECEMBER 2012 VIETNAM NATIONAL UNIVERSITY, HANOI Hanoi University of Languages and International Studies Faculty of Post-graduate studies **************** NGUYỄN KIM OANH A Minor thesis on: A STUDY ON HISTORICAL AND SOCIAL BACKGROUND AND THE NEWNESS OF LANGUAGE USE IN ‘PRIDE AND PREJUDICE’ BY JANE AUSTEN (NGHIÊN CỨU CƠ SỞ LỊCH SỬ, XÃ HỘI VÀ TÍNH MỚI CỦA VIỆC SỬ DỤNG NGƠN NGỮ TRONG TÁC PHẨM „KIÊU HÃNH VÀ ĐỊNH KIẾN‟ CỦA JANE AUSTEN) Field: Code: Supervisor: Linguistics 602215 Dr Phạm Đăng Bình HANOI – DECEMBER 2012 TABLE OF CONTENTS Page Acknowledgement i Abstract ii Table of contents iii PART 1: INTRODUCTION Rationale of the study Aims and objectives of the study Methodology of procedures 3 Design of the study 3 Data collection and date analysis Scope of the study PART 2: DEVELOPMENT CHAPTER THEORETICAL BACKGROUND 1.1 Definitions of key terms 1.1.1 Discourse and discourse analysis 1.1.2 Literary style 1.1.2.1 Word choice 10 1.1.2.2 Sentence fluency 10 1.1.2.3 Voice 10 1.1.3 Language use 11 iii 1.1.3.1 Participant 12 1.1.3.2 Social processes 12 1.1.3.3 Collective activities 12 1.2 Previous studies 13 CHAPTER ANALYTICAL BACKGROUND 2.1 Introduction to Jane Austen 14 2.2 Introduction to „Pride and Prejudice‟ 15 2.2.1 Summary 15 2.2.2 Themes 16 CHAPTER 3: HISTORICAL AND SOCIAL BACKGROUND OF BRITISH NOVELS 3.1 Historical background 17 3.2 Social background 19 th th 3.3 Themes and forms of the late 18 and early 19 century novels 19 CHAPTER 4: NEWNESS OF LANGUAGE USE IN ‘PRIDE AND PREJUDICE’ 4.1 Austen‟s distinctive writing style 23 4.2 Newness in language use 24 4.2.1 Language use in the three leading conversations 24 4.2.1.1 Act 25 4.2.1.2 Act 30 iv 4.2.1.3 Act 36 PART 5: CONCLUSION Newness of language use 37 The matter of love and love expressing 39 Contributions of the study 40 Suggestions for further studies 40 REFERENCES …………………………… 41 APPENDIX I v PART 1: INTRODUCTION This initial part stated the problem and the rationale of the study, together with the aims, objectives, the scope of the study, and the overview of the rest of this research paper Above all, it was in this part that the research question was identified to work as clear guidelines for the whole research Rationale of the study In the eighteenth century, the readers were delighted by a new form of prose, which was called „novel‟ for the first time by Daniel Defoe – the first considerable British novelist A „novel‟ with a certain length did bring amusement, pleasure and joy to those who were concerned when the contemporary British society was dreadfully chaotic in the virtue of the changes in the monarch In the innovation of this new form of prose, there appeared a remarkable number of writers and their works They were coined to emphasize not only the social changes but also the imaginary stories, which exposed their hope for a better life, so even the family or social class problems were best put down in words by one of the most famous female novelist in Britain and all over the world – Jane Austen Peter Washington in his commentary once implied that Jane Austen belonged to the fantastic side of the English comedy that appealed so strongly to the readers, not only in Britain but also from all over the world She was also said to be the first novelist capable of “conveying both interior and exterior of human life” as well as “developing the means of representing the totality of human life” (Ian Watt, 1957) In the six novels written during the very last decades of the eighteenth century, she truly succeeded in describing “the involvements and feelings and characters of ordinary life which to me the most wonderful I‟ve ever met with … that a pity such a gifted creature dies so early” as Walter Scott (1826) once stated in his commentary All the certain circumstances were just within the leading involvement of one family and their neighbours and friends in which Austen created “some heroines who were credible with minds, with the capacity to think for themselves with ambition and wit”; and „Pride and Prejudice‟, the novel about marriage, was said to be the best of them all „Pride and Prejudice‟ was coined to construct the frame of the contemporarily social satire, within the relationship between people from the middle and upper classes It initially commenced the era of „country family novels‟ which set a “prying inquiry into the manner, human dignity and great strain” on the characters and the society they were living in, which made her novels connected to the contemporary world more than the traditional society of the eighteenth century as Diệp Minh Tâm (2002) once commented Further more, it ranked one of the greatest novels of all time following “Wuthering heights” by Emily Bronte - 1847) and was read even if it was not taught at school The researcher was impressed by the name of the novel at first and became overexcited about the novel since she finished reading it for the first time The novel was really linked to both of the real world and the emotional changes inside individuals, especially the female Therefore, putting extra effort in investigating what impressed her really fed her desire to understand the people and society at the time Aims of the study This study was carried out with the hope of exploring the background of the temporary Britain leading to the remarkable changes in its literal history of the eighteenth and nineteenth centuries especially in the view on British novels The study also aimed at answering the question: “What is Jane Austen‟s distinctive writing style?” The answer to the question would help the students of Linguistics, the novel's readers as well as those who wished to specialize in English Literature realize what made Austen one of the most successful female novelist of the century Right from the start, the researcher expected to find out the historical and social background of the British Literature and briefly analyze the language use in „Pride and Prejudice‟ which exposed Austen‟s distinctive writing style Last but not least was the researcher‟s desire to understand the novel, which was really related to the controversial matter of love and love expressing Methodology of procedures 3.1 Design of the study The study was divided into three main parts While Part One dealt with the general information which contained the rationale, aims and objectives, methodology and scope of the study, Part Two went into further details of the historical and social background; and the newness of language use in Jane Austen‟s Pride and Prejudice through four chapters The suggestions for further research would not be omitted in the last part 3.2 Data collection and data analysis The study used the descriptive and contextual methods of data collecting and analyzing Basing on the huge resources of library and internet materials, the researcher analyzed and then agglutinated those ideas into her own brief clear and understandable viewpoints On the other hand, several differences in the changeable literal trends of the eighteenth and nineteenth centuries would be briefly stated in her Analysis on how main characters exposed their own „pride‟ and „prejudice‟ in some certain circumstances through the three volumes Scope of the study As could be seen from the title, the study strongly focused not only on the historical and social background but also on the language use of the novel which played the most important role To understand that newness of language use in the novel, the researcher had to pay her full attention to the main characters‟ leading conversations in the three volumes which helped expose the cherish love and the theory of „pride‟ and „prejudice‟ – the main themes of the novel Amongst the three conversations, the first two would be thoroughly analyzed, for the reason that the first „conversation‟ brought the two main characters by their mistaken first impression and the second conversation was about the conflicts finally resolved PART 2: DEVELOPMENT CHAPTER THEORETICAL BACKGROUND Definitions of key terms To be able to analyze the newness of language use through the three acts of the novel, there were several key terms: discourse and discourse analysis, literary style and language use, which needed to be deeply understood So for the purpose of providing a clear and deep understanding of the matter, this first chapter would focus on the definitions of those key terms while mentioning some necessary information about previous studies that related to the matter of the study 1.1 Discourse and discourse analysis Through centuries, 'discourse' was defined in various ways by a number of scholars „Discourse‟ was 'stretches of language perceived to be meaningful, unified and purposive' (Cook 1989:156) „Discourse‟ was considered 'a communicative event which draws on the meaning potential of the language (and other systems of communication) to carry communicative value (the illocutionary force) of speech acts through utterances In other words, it referred to “the interpretation of communicative events in context.” (Nunan 1993:7-8) It could be said that there were no significant differences between those definitions since the notion of „discourse‟ was all about how the language use was understood in such verbal events Sharing a lot in common with Malinowski, linguists (Hymes, 1960s; Austin, 1962; Searle, 1969; Grice, 1975; and Halliday and Hasan, 1973, 1978, 1989, 1994) had Birdsall, S.V (1992) English history McGraw-Hill, Inc Brown, G & Yule, G (1983) Discourse Analysis Cambridge University Press Canual, M (2005) Jane Austen and the important of Being wrong Boston University Press, 44-2 10 Moses, C (2003) Jane Austen and Elizabeth Bennet: The limits of Irony Jane Austen Journal, 25 11 Christensen, T (2000) Love is a matter of … EMI Group 12 Colebrook, C (2004) Irony New Fetter Lane, London 13 Clark, J & Carlson, T (1982) Hearers and Speech Acts Language 58-2 14 Clark, H.H (1992, 2000) Arenas of language use University of Chicago Press, Chicago 15 David, W.R (1915) The Elements of Style: An Introduction to Literary Criticism Forgotten Books 16 Dorothy, E (1970) The concise Oxford dictionary of English Literature Clarendon Press 17 Freeman, D.C (1970) Linguistics and literary style Literary Criticism 18 Halliday, M A K (1978) Language as social semiotic-The interpretation of language and meaning London Edward Arnold 19 Halliday, M A K (1989) Context of situation In Michael Halliday and Ruqaiua Hasan, eds., Language, Context and Text: Aspects of Language in a Social-Semiotic Perspective Oxford: Oxford University Press, 3-14 20 Kenneth, O.M (1997) The Oxford illustrated history of Britain OUP 21 Levinson, S.C (1983) Pragmatics Cambridge: OUP 42 22 Mackaye, S (1906) Pride and Prejudice, A play found on Jane Austen‟s novel Duffield and Company, New York 23 Margaret, A.R (1979) Parody// Meta-Fiction British Library 24 Mitchell, A & McGee, K (2011) Writing in Style: Pattern Languages and Writing Short Fiction Story Worlds: A Journal of Narrative Studies, 3:139160 25 Mitchell, M (1939) Gone with the wind Macmillan Publisher 26 Nunan, D (1993) Introducing discourse analysis Penguin English 27 Peter, W (1996) Jane Austen Sanditon and other stories Graohischer Grossbetrieb Possneck GmbH – Germany 28 Ray, K (20120) The Use of Irony in Jane Austen's 'Pride and Prejudice' GRIN Verlag GmbH 29 Richetti, J (1994) The Columbia history of the British novel CUP New York 30 Qaisar, I J (2010) Jane Austen's Pride and Prejudice A Critical Analysis Attribution Non-commercial, retrieved from http://www.scribd.com/doc/24940611/Jane-Austen-s-Pride-and-PrejudiceA-Critical-Analysis-by-Qaisar-Iqbal-Janjua 31 Strunk, W & White, E B (2000) The Elements of Style (4th Edition) Boston: Allyn and Bacon 32 Watt, I (1957) The Rise of the Novel: Studies in Defoe, Richardson and Fielding University of California Press 33 Wolfe, J (1999) Jane Austen and the Sin of Pride Renascence Essays, 51 43 Websites: http://www.guardian.co.uk/uk/2007/aug/10/books.booksnews http://www.nvcc.edu/home/ataormina/novels/history/origins.htm http://www.nvcc.edu/home/ataormina/novels/history/define.htm http://www.sparknotes.com/lit/pride/ http://www.cliffsnotes.com/study_guide/literature/pride-and- prejudice/book-summary.html http://www.shmoop.com/pride-and-prejudice/elizabeth-bennet.html http://www.icosilune.com/2009/01/jane-austen-pride-and-prejudice/ http://www.ukessays.com/essays/english/pride-prejudice.php http://bookstove.com/classics/pride-and-prejudice-a-look-into-thesignificance-of-language-and-relationships/ 10 http://www.scribd.com/doc/24940611/Jane-Austen-s-Pride-and-Prejudice- A-Critical-Analysis-by-Qaisar-Iqbal-Janjua 44 APPENDIX 1: Act I that concluded the ‘conversation’ which led Elizabeth draw wrong impression on Darcy At the welcome ball (p 13 – p 17) „Come, Darcy,‟ said he, „I must have you dance I hate to see you standing about by yourself in this stupid manner You had much better dance.‟ „I certainly shall not You know how I detest it, unless I am particularly acquainted with my partner At such an assembly as this it would be insupportable Your sisters are engaged, and there is not another woman in the room whom it would not be a punishment to me to stand up with.‟ „I would not be so fastidious as you are,‟ cried Mr Bingley, „for a kingdom! Upon my honour, I never met with so many pleasant girls in my life as I have this evening; and there are several of them you see uncommonly pretty.‟ „YOU are dancing with the only handsome girl in the room,‟ said Mr Darcy, looking at the eldest Miss Bennet „Oh! She is the most beautiful creature I ever beheld! But there is one of her sisters sitting down just behind you, who is very pretty, and I dare say very agreeable Do let me ask my partner to introduce you.‟ „Which you mean?‟ and turning round he looked for a moment at Elizabeth, till catching her eye, he withdrew his own and coldly said: „She is tolerable, but not handsome enough to tempt ME; I am in no humour at present to give consequence to young ladies who are slighted by other men You had better return to your partner and enjoy her smiles, for you are wasting your time with me.‟ Mr Bingley followed his advice Mr Darcy walked off; and Elizabeth remained with no very cordial feelings toward him She told the story, however, with great I spirit among her friends; for she had a lively, playful disposition, which delighted in anything ridiculous The evening altogether passed off pleasantly to the whole family Mrs Bennet had seen her eldest daughter much admired by the Netherfield party Mr Bingley had danced with her twice, and she had been distinguished by his sisters Jane was as much gratified by this as her mother could be, though in a quieter way Elizabeth felt Jane's pleasure Mary had heard herself mentioned to Miss Bingley as the most accomplished girl in the neighbourhood; and Catherine and Lydia had been fortunate enough to be never without partners, which was all that they had yet learnt to care for at a ball They returned therefore, in good spirits to Longbourn, the village where they lived, and of which they were the principal inhabitants They found Mr Bennet still up With a book, he was regardless of time; and on the present occasion he had a good deal of curiosity as to the event of an evening which had raised such splendid expectations He had rather hoped that all his wife's views on the stranger would be disappointed; but he soon found that he had a very different story to hear ``Oh! my dear Mr Bennet,'' as she entered the room, ``we have had a most delightful evening, a most excellent ball I wish you had been there Jane was so admired, nothing could be like it Every body said how well she looked; and Mr Bingley thought her quite beautiful, and danced with her twice Only think of that my dear; he actually danced with her twice; and she was the only creature in the room that he asked a second time First of all, he asked Miss Lucas I was so vexed to see him stand up with her; but, however, he did not admire her at all: indeed, nobody can, you know; and he seemed quite struck with Jane as she was going down the dance So, he enquired who she was, and got introduced, and asked her for the two next Then, the two third he danced with Miss King, and the two fourth II with Maria Lucas, and the two fifth with Jane again, and the two sixth with Lizzy, and the Boulanger '' ``If he had had any compassion for me,'' cried her husband impatiently, ``he would not have danced half so much! For God's sake, say no more of his partners Oh! that he had sprained his ancle in the first dance!'' ``Oh! my dear,'' continued Mrs Bennet, ``I am quite delighted with him He is so excessively handsome! and his sisters are charming women I never in my life saw any thing more elegant than their dresses I dare say the lace upon Mrs Hurst's gown '' Here she was interrupted again Mr Bennet protested against any description of finery She was therefore obliged to seek another branch of the subject, and related, with much bitterness of spirit and some exaggeration, the shocking rudeness of Mr Darcy ``But I can assure you,'' she added, ``that Lizzy does not lose much by not suiting his fancy; for he is a most disagreeable, horrid man, not at all worth pleasing So high and so conceited that there was no enduring him! He walked here, and he walked there, fancying himself so very great! Not handsome enough to dance with! I wish you had been there, my dear, to have given him one of your set downs I quite detest the man.'' At Longbourn when Jane was ill (p 36 – p 38) He paused in hopes of an answer; but his companion was not disposed to make any; and Elizabeth at that instant moving towards them, he was struck with the notion of doing a very gallant thing, and called out to her, ``My dear Miss Eliza, why are not you dancing? Mr Darcy, you must allow me to present this young lady to you as a very desirable partner You cannot refuse to dance, I am sure, when so much beauty is before you.'' And taking her hand, he III would have given it to Mr Darcy, who, though extremely surprised, was not unwilling to receive it, when she instantly drew back, and said with some discomposure to Sir William, ``Indeed, Sir, I have not the least intention of dancing I entreat you not to suppose that I moved this way in order to beg for a partner.'' Mr Darcy with grave propriety requested to be allowed the honour of her hand; but in vain Elizabeth was determined; nor did Sir William at all shake her purpose by his attempt at persuasion ``You excel so much in the dance, Miss Eliza, that it is cruel to deny me the happiness of seeing you; and though this gentleman dislikes the amusement in general, he can have no objection, I am sure, to oblige us for one half hour.'' ``Mr Darcy is all politeness,'' said Elizabeth, smiling ``He is indeed but considering the inducement, my dear Miss Eliza, we cannot wonder at his complaisance; for who would object to such a partner?'' Elizabeth looked archly, and turned away Her resistance had not injured her with the gentleman, and he was thinking of her with some complacency, when thus accosted by Miss Bingley ``I can guess the subject of your reverie.'' ``I should imagine not.'' ``You are considering how insupportable it would be to pass many evenings in this manner in such society; and indeed I am quite of your opinion I was never more annoyed! The insipidity and yet the noise; the nothingness and yet the selfimportance of all these people! What would I give to hear your strictures on them!'' IV ``Your conjecture is totally wrong, I assure you My mind was more agreeably engaged I have been meditating on the very great pleasure which a pair of fine eyes in the face of a pretty woman can bestow.'' Miss Bingley immediately fixed her eyes on his face, and desired he would tell her what lady had the credit of inspiring such reflections Mr Darcy replied with great intrepidity, ``Miss Elizabeth Bennet.'' ``Miss Elizabeth Bennet!'' repeated Miss Bingley ``I am all astonishment How long has she been such a favourite? and pray when am I to wish you joy?'' ``That is exactly the question which I expected you to ask A lady's imagination is very rapid; it jumps from admiration to love, from love to matrimony, in a moment I knew you would be wishing me joy.'' ``Nay, if you are so serious about it, I shall consider the matter as absolutely settled You will have a charming mother-in-law, indeed, and of course she will be always at Pemberley with you.'' He listened to her with perfect indifference while she chose to entertain herself in this manner, and as his composure convinced her that all was safe, her wit flowed long V APPENDIX 2: Act II that concluded the real conversation through which Darcy exposed his love to Elizabeth (p 235 – p 293) [ ] 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 characterize her style, and which, proceeding from the serenity of a mind at ease with itself, and kindly disposed towards every one, 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 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 enquire particularly after her But this idea was soon banished, and her spirits were VI very differently affected, when, to her utter amazement, she saw Mr Darcy walk into the room In an hurried manner he immediately began an enquiry 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 have I struggled It will not 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 judgment 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 VII 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 any one 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 mantle-piece 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, in 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 enquire,'' replied she, ``why, with so evident a design 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 own feelings decided against you, had they been indifferent, or had they even been favourable, you think that any consideration would tempt VIII 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, 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 every thing 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?'' IX ``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 misfortunes 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 offences 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 every thing 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, X ``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 gentleman-like manner.'' She saw him start at this, but he said nothing, and she continued, ``You could not have made me 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 that ground-work of disapprobation, on which succeeding events have built so immoveable 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 XI 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 agitating 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 XII ... semiotic -The interpretation of language and meaning London Edward Arnold 19 Halliday, M A K (1989) Context of situation In Michael Halliday and Ruqaiua Hasan, eds., Language, Context and Text: Aspects... and Halliday and Hasan, 1973, 1978, 1989, 1994) had drawn certain attention to this branch by clarifying some “contextual, grammar and cohesional models as well as pragmatic and conversational... evaluate the outcome of the whole research paper not only by stating some main points in the newness of language use in the novel by also by sharing her own viewpoint about the matter of love and