DON QUIXOTE

Miguel de Cervantes

Chapter VIII- Summary

After a full day, Don Quixote and Sancho come to a field of windmills, which Don Quixote
mistakes for giants. Don Quixote charges at one at full speed, and his lance gets caught in the
windmill’s sail, throwing him and Rocinante to the ground. Don Quixote assures Sancho that
the same enemy Freston the wise, who has extinguished his library turned the giants into
windmills at the last minute.
The two ride on, and Don Quixote explains to Sancho that knights-errant should never
complain of injury or hunger. He tears a branch from a tree to replace the lance he broke in
the windmill encounter. He and Sancho camp for the night, but Don Quixote does not sleep
and instead stays up all night remembering his love, Dulcinea.
The next day, Don Quixote and Sancho encounter two monks and a carriage carrying a lady
and her attendants. Don Quixote thinks that the two monks are enchanters who have captured
a princess and attacks them, ignoring Sancho’s and the monks’ protests. He knocks one monk
off his mule. Sancho, believing he is rightly taking spoils from Don Quixote’s battle, begins
to rob the monk of his clothes. The monks’ servants beat Sancho, and the two monks ride off.
Don Quixote tells the lady to return to Toboso and present herself to Dulcinea. He argues
with one of her attendants and soon gets into a battle with him. Cervantes describes the battle
in great detail but cuts off the narration just as Don Quixote is about to deliver the mortal
blow. Cervantes explains that the historical account from which he has been working ends at
precisely this point
Characters
Don Quixote - The novel’s tragicomic hero. Don Quixote’s main quest in life is to revive
knight-errantry in a world devoid of chivalric virtues and values. He believes only what he
chooses to believe and sees the world very differently from most people. Honest, dignified,
proud, and idealistic, he wants to save the world. As intelligent as he is mad, Don Quixote
starts out as an absurd and isolated figure and ends up as a pitiable and lovable old man
whose strength and wisdom have failed him
The title character of the novel, Don Quixote is a lean, middle-aged gentleman who, having
gone mad from reading too many books about chivalrous knights, determines to set off on a
great adventure to win honor and glory in the name of his invented ladylove, Dulcinea. Don
Quixote longs for a sense of purpose and beauty—two things he believes the world lacks—
and hopes to bring order to a tumultuous world by reinstating the chivalric code of the
knights-errant. Initially, Don Quixote’s good intentions do only harm to those he meets, since
he is largely unable to see the world as it really is.
As the novel progresses, Don Quixote, with the help of his faithful squire Sancho, slowly
distinguishes between reality and the pictures in his head. Nonetheless, until his final sanity-
inducing illness, he remains true to his chivalric conception of right and wrong. Even though
his vision clears enough to reveal to him that the inns he sees are just inns, not castles as he
previously believed, he never gives up on his absolute conviction that Dulcinea can save him
from all misfortune. Furthermore, even when Don Quixote must retire from knight-errantry,
he does so in the spirit of knight-errantry, holding to his vows and accepting his retirement as
part of the terms of his defeat at the hands of the Knight of the White Moon. Despite his
delusions, however, Don Quixote is fiercely intelligent and, at times, seemingly sane. He
cogently and concisely talks about literature, soldiering, and government, among other topics.
No single analysis of Don Quixote’s character can adequately explain the split between his
madness and his sanity. He remains a puzzle throughout the novel, a character with whom we
may have difficulty identifying and sympathizing. We may see Don Quixote as coy and think
that he really does know what is going on around him and that he merely chooses to ignore
the world and the consequences of his disastrous actions. At several times in the novel,
Cervantes validates this suspicion that Don Quixote may know more than he admits.
Therefore, when Don Quixote suddenly declares himself sane at the end of the novel, we
wonder at his ability to shake off his madness so quickly and ask whether he has at least
partly feigned this madness. On the other hand, we can read Don Quixote’s character as a
warning that even the most intelligent and otherwise practically minded person can fall
victim to his own foolishness. Furthermore, we may see Don Quixote’s adventures as a
warning that chivalry—or any other outmoded set of values—can both produce positive and
negative outcomes. Given the social turmoil of the period in which Cervantes wrote, this
latter reading is particularly appealing. Nonetheless, all of these readings of Don Quixote’s
character operate in the novel.
Sancho Panza
Sancho Panza - The peasant laborer—greedy but kind, faithful but cowardly—whom Don
Quixote takes as his squire. A representation of the common man, Sancho is a foil to Don
Quixote and virtually every other character in the novel. His proverb-ridden peasant’s
wisdom and self-sacrificing Christian behavior prove to be the novel’s most insightful and
honorable worldview. He has an awestruck love for Don Quixote but grows self-confident
and saucy, ending the novel by advising his master in matters of deep personal philosophy.
The simple peasant who follows Don Quixote out of greed, curiosity, and loyalty, Sancho is
the novel’s only character to exist both inside and outside of Don Quixote’s mad world. Other
characters play along with and exploit Don Quixote’s madness, but Sancho often lives in and
adores it, sometimes getting caught up in the madness entirely. On the other hand, he often
berates Don Quixote for his reliance on fantasy; in this sense, he is Don Quixote’s foil.
Whereas Don Quixote is too serious for his own good, Sancho has a quick sense of humor.
Whereas Don Quixote pays lip service to a woman he has never even seen, Sancho truly
loves his wife, Teresa. While Don Quixote deceives himself and others, Sancho lies only
when it suits him.

Living in both Don Quixote’s world and the world of his contemporaries, Sancho is able to
create his own niche between them. He embodies the good and the bad aspects of both the
current era and the bygone days of chivalry. He displays the faults that most of the sane
characters in the novel exhibit but has an underlying honorable and compassionate streak that
the others largely lack. Sancho does not share Don Quixote’s maddening belief in chivalrous
virtues, but he avoids swerving toward the other extreme that equates power with honor.
Though Sancho begins the novel looking more like the contemporaries against whom Don
Quixote rebels, he eventually relinquishes his fascination with these conventions and comes
to live honorably and happily in his simple position in life. He therefore comes across as the
character with the most varied perspective and the most wisdom, learning from the world
around him thanks to his constant curiosity. Though Sancho is an appealing character on
many levels, it is this curiosity that is responsible for much of our connection with him. He
observes and thinks about Don Quixote, enabling us to judge Don Quixote. Sancho
humanizes the story, bringing dignity and poise, but also humor and compassion.

Through Sancho, Cervantes critiques the ill-conceived equation of class and worth. Though
Sancho is ignorant, illiterate, cowardly, and foolish, he nonetheless proves himself a wise and
just ruler, a better governor than the educated, wealthy, and aristocratic Duke. By the time
Sancho returns home for the last time, he has gained confidence in himself and in his ability
to solve problems, regardless of his lower-class status. Sancho frequently reminds his
listeners that God knows what he means. With this saying, he shows that faith in God may be
a humanizing force that distinguishes truly honorable men, even when they have lower-class
origins

Dulcinea del Toboso

The unseen, unknown inspiration for all of Don Quixote’s exploits, Dulcinea, we are told, is a
simple peasant woman who has no knowledge of the valorous deeds that Don Quixote
commits in her name. We never meet Dulcinea in the novel, and on the two occasions when it
seems she might appear, some trickery keeps her away from the action. In the first case, the
priest intercepts Sancho, who is on his way to deliver a letter to Dulcinea from Don Quixote.
In the second instance, Sancho says that Dulcinea has been enchanted and that he thus cannot
locate her.

Despite her absence from the novel, Dulcinea is an important force because she epitomizes
Don Quixote’s chivalric conception of the perfect woman. In his mind, she is beautiful and
virtuous, and she makes up for her lack of background and lineage with her good deeds. Don
Quixote describes her chiefly in poetic terms that do little to specify her qualities. She is,
therefore, important not for who she is but for what her character represents and for what she
indicates about Don Quixote’s character.

Alonso Quixana is an older gentleman who lives in La Mancha, in the Spanish countryside.
He has read many of the books of chivalry and as a result, he has lost his wits, and he decides
to roam the country as a knight-errant named Don Quixote de La Mancha. Neither his niece
nor his housekeeper can stop him from riding his old horse, Rocinante, out into the country.
Quixote's first sally ends quickly. He insists on having an innkeeper knight him into the
chivalric order. Quixote believes that the inn is a castle. Returning home for clothes and
money, Quixote is beaten and left for dead. A commoner rescues Quixote and brings him
home.

Summary and analysis

Chapter 7
Don Quixote has been brought back to his home in La Mancha, but he has not let go of his
imaginations. Quixote still believes that he is a knight-errant and he will not be convinced
otherwise. Quixote's niece, his housekeeper, the barber and the priest are discussing which
books need to be burned when Quixote interrupts them. Specifically, Quixote is upset
because they have blocked his entrance to the library. After the gentleman is put to bed, the
housekeeper burns the books
Don Quixote is looking for his books a few days later, but of course, he cannot find them.
The housekeeper sees Quixote searching for his library and she tells him that there is no point
in looking for the books‹ because "the devil himself has carried all away." The niece explains
that it wasn't the devil, but a sage named Muñaton. The niece and the housekeeper have
already decided what they would tell Quixote. Don Quixote explains to his niece that the sage
was named Friston, not Muñaton. Friston has taken Quixote's books because of a rivalry
between Quixote and one of Friston's powerful knights.
Quixote's niece perceives that her plan has backfired: her uncle is determined to leave home
again and he will not be persuaded to do otherwise. Traveling into town, Don Quixote meets
Sancho Panza, a commoner, and convinces Sancho to serve as his squire. Sancho Panza is
hesitant to leave his wife, Teresa, but Quixote convinces Panza that there are treasures to be
won. At the very least, Panza will likely become the Governor of an island.
Chapter 8
On this, his second journey, Quixote is no less plagued by absurd imaginations. Traveling the
countryside, Quixote soon stumbles into "the dreadful and never-before-imagined adventure
of the windmills." Quixote prepares for "lawful war" against an army of giants, despite
Sancho Panza's urgent warnings. Sancho realizes that Quixote's "giants" are merely
windmills. Quixote insists upon charging at the windmills and he falls to the ground, when
his lance jams into the sails of the windmill. Quixote is not badly hurt, though his horse,
Rocinante, is more seriously wounded.
When it becomes clear to Quixote that this is a field of windmills, he argues that an evil
enchanter has transformed the giants into windmills in order to rob Quixote of a dashing
victory.
Chapter 9
Armed with a tree branch (to replace the broken lance), Quixote continues on his qu est. On a
side road, Quixote attacks two monks who are accompanying a lady. Quixote argues that the
lady has been kidnapped and is imprisoned in her carriage. Sancho tries to dissuade the
knight, but he is unsuccessful. Sancho then joins in the battle and attempts to steal the monks'
clothes. At this point, the monks' servants intervene and give Sancho a rather serious beating.
Quixote is wounded in the ear, but he nearly kills one of the lady's attendants, a man called
"the valiant Biscainer." Staying true to the code of chivalry, Quixote says that he will spare
the attendant's life if the man agrees to "present himself before the peerless Dulcinea, that she
may dispose of him as she shall think fit." The company of the lady, her attendants, the
monks and their servants are all bewildered by Quixote's request. Nonetheless, they
enthusiastically agree to Quixote's demands because they can see that he is dangerous.
Chapter 10
After the two groups part ways, Sancho asks to become governor of his island. Quixote
cannot yet make good on this promise, but he assures Sancho that their rewards and treasures
will come soon.
Analysis
The scene in Chapter 8, when Quixote perceives the windmills as giants, is perhaps the most
famous scene of the novel. Don Quixote's imagination turns the dull Spanish countryside into
a magical place. Jostling between Sancho and Quixote's point-of-view, the reader sees the
juxtaposition of an ordinary landscape and an absurd daydream. Because Cervantes shows us
what Quixote sees, it is easier for us to empathize with the knight. At the same time, we can
also understand why Sancho feels so confused by his irrational master.
Sancho Panza is described as "honest, poor, shallow-brained" and he becomes Don Quixote's
squire. Panza is not deluded, but he has too much faith in Don Quixote and the squire will
suffer for it. As a practical man, Sancho Panza fears the Holy Brotherhood once Don Quixote
has committed violence against the Benedictine monks. Quixote, an educated man, is unable
to grasp reality. On the other hand, Quixote is so well-versed in the nuances of chivalry and
adventures that he is able to correct his niece when she incorrectly names the evil sage:
"Friston he meant to sayŠ " This especially ironic because the niece is lying, simply repeating
a story she has already rehearsed. Literacy is also expressed as an issue of social "class' in the
interactions between Quixote and his squire. When Sancho raises a concern, Quixote can
pose the question: "Have you read in storyŠ ?" This effectively silences Sancho and
foreshadows the point in the novel when Quixote commands Sancho not to speak.
Don Quixote is determined to follow the texts that he has read, even if that means breaking
the law and violating the religious codes and morals of his society. So far, Quixote proves to
be rather orthodox and unswerving in regards to following the text. There is tension between
the projects of the author-narrator and the main character. At one point, Quixote says to his
squire: "Sancho, let not that trouble you, which gives me pleasure; nor endeavor to make a
new world, or to throw knight-errantry off its hinges." In a sense, the hero only wants to
duplicate and share the glories of the previous knights. But this recalls Cervantes' own
tongue-in-cheek explanation of why he published Don Quixote. As stated in the Prologue, the
novel is intended "to destroy the authority and acceptance the books of chivalry have had in
the world."
The two major themes in this section are delusion and deception. Quixote's experience with
the windmills is definitive of delusion and the motif of "mills" will recur several times in the
novel. The theme of deception is initiated once Don Quixote is deceived by his friends and
family. This will continue throughout Books I and II. Indeed, it will become important to
separate the "delusion" of Quixote from the "deception" of others, if only because both run
rampant. Quixote's friends and loved ones ultimately spend considerable time and energy
deceiving Quixote as a means of protecting our hero from himself.
Quixote saw the inn as a castle from the beginning to the end of his earlier adventure. But this
time, he sees giants only at the beginning; afterwards, he sees windmills. He initially looks
inward, into the chivalric world where large looming things are always fearsome giants, but
the blows of reality force him to look outward. Though it’s pain that turns Quixote from the
imagined to the real, he makes a point of discrediting pain: matters of the body are much less
important to him than matters of the soul. Sancho, we see, is the opposite. Quixote chooses to
ignore pain, exhaustion, and hunger because he’s imitating the ethereal knights in his books.
Of course, the fictional knights don’t eat or sleep because the authors chose to omit such
crude details. So Quixote’s behaviour is life imitating unrealistic art. Cervantes often puts
religious figures in Quixote’s way, perhaps to emphasize the ludicrous gap between intention
and consequence. Quixote intends to help a troubled princess; instead, he beats up a monk.
We’ve noticed by now that Quixote is very impulsive. The trait is most likely a real world
reflection of unreflective, action-loving chivalry books. On the face of it, Quixote is getting
into random destructive brawls with strangers. But there is a clear logic to his actions. A
knight must always be dignified and brave, because he is the final stronghold of nobility,
courage, and altruism in a decaying world. So Quixote must bravely battle anyone who
speaks to him disrespectfully, or else he is betraying the chivalric order and everything it
represents.
 LES MISERABLES
Victor Hugo
In 1815, M. Charles François-Bienvenu Myriel has been Bishop of Digne for nine years. He is seventy-
five years old and lives only with a sister Baptistine, ten years younger than he, and an old servant,
Madame Magloire, the same age as his sister.
// The bishop's background destined him to a worldly career. His father was a counselor at the Parlement
of Aix and was grooming his son to be his successor. The young man ma rried at eighteen and cut an
impressive figure in society. But the Revolution changed his destiny. Exile, his wife's death, the
destruction of the ancient order, perhaps some private grief, turned M. Myriel toward the priesthood. ///
M. Myriel became a priest of ineffable goodness. His appointment as bishop by Napoleon was a
blessing to his diocese. He turned over his vast and sumptuous palace to the sick and converted the
hospital into his own Spartan residence. The only luxury that he has retained from a more comfortable
past are a few silver pieces: six knives and forks, a soup ladle, and two candlesticks.
Myriel’s Silver Candlesticks
M. Myriel’s candlesticks are the most prominent symbol of compassion in Les Misérables, and they
shed a light that always brings love and hope. At the beginning of the novel, Hugo uses the contrast
between light and darkness to underscore the differences between Myriel, an upstanding citizen, and Val
jean, a dark, brooding figure seemingly incapable of love. When Myriel gives Valjean his silver
candlesticks, Myriel is literally passing on this light as he tells Valjean he must promise to become an
honest man. Subsequently, the candlesticks reappear frequently to remind Valjean of his duty. When
Valjean dies, the candlesticks shine brightly across his face, a symbolic affirmation that he has attained
his goal of love and compassion.

Analysis
It is often the case that the opening lines of a book set the keynote for the whole. Here, it is the Bishop
of Digne who sets the spiritual keynote for Les Misérables.
A truly good man or woman is one of the most difficult characters for a writer to portray convincingly.
Notice that in describing the bishop, Hugo does not simply tell us "This man is a saint." Instead, he
introduces him to us gradually and lets us form our own conclusions. We learn first what people say
about his past. Then we see him in action, giving away his palace and his income; and we hear him
speak — simply and wisely to his parishioners, gaily to his sister, wittily to the great. In Chapters 5-9,
we penetrate further into his private life and learn that he lives as unpretentiously in his bedroom as he
does in public, and that his sister and servant love and revere him even more than his parishioners.
Most of all, however, it is the touch of humor — even of the sardonic — which Hugo gives M. Myriel
that makes him believable. The bishop is not above a bit of robbery in a good cause, nor is he free from
personal and class prejudice. But he is constantly being changed by what he believes; his inner light
changes his own personality as well as that of those around him.
The bishop is also important to Hugo as a social symbol. A man of the Old Regime, he has accepted his
loss of privilege without bitterness, and though a student of the divine, he is not blind to the flaws in
human law.

Monseigneur Charles François-Bienvenu Myriel Saintly bishop whose compassionate treatment

causes the reformation of the ex-convict Valjean. He is also called "M. Bienvenu."

Mlle. Baptistine Sister of the bishop.

Mme. Magliore Housekeeper for the bishop and his sister.

Jean Valjean Ex-convict still pursued by the law, who strives for moral perfection and achieves a kind
of sainthood in his love for the little orphan Cosette. He is also known as M. Madeleine and M. Leblanc.

Little Gervais Chimney sweep from whom Valjean steals a coin, his last criminal act for which Javert
inexorably trails him.

Jean Valjean stands at the center of Les Misérables and becomes a trial figure for Hugo’s grand
theories about the redemptive power of compassion and love. Valjean goes into prison a simple and
decent man, but his time in jail has a seemingly irreversible effect on him, and he emerges from the
chain gang a hardened criminal who hates society for what it has done to him. By the time Valjean
encounters M. Myriel in Digne, he is so accustomed to being a social pariah that he almost seeks out
such abuse, greeting even the kindly bishop with scorn and hatred. Myriel, however, turns out to be the
first person in decades to treat Valjean with love and respect. The meeting with Myriel forever changes
Valjean’s character, as Myriel makes Valjean promise to become an honest man.

Once Valjean opens up his heart, he becomes a testament to the redemptive power of love and
compassion. His hard work and new vision transform the derelict town of Montreuil -sur-mer into a
thriving manufacturing center, which in turn teaches Valjean the value of philanthropy. In taking care of
Cosette, Valjean learns how to love another person and how to pass that love onto others. He is
exceptional only in his physical strength and his willingness to discover what is good, and this
earnestness is enough to make him the novel’s hero as well as a savior and a friend to a number of
people who find themselves in danger. Hardened by prison and rescued by the kindness of M. Myriel,
Valjean is a blank slate, molded by his encounters and circumstances. This ability to change makes him
a universal symbol of hope—if he can learn love and charity after suffering so much injustice, anyone
can.

Important quotes explained

[Valjean] strained his eyes in the distance and called out . . . “Petit Gervais! . . .” His cries died away
into the mist, without even awaking an echo. . . . [H]is knees suddenly bent under him, as if an invisible
power suddenly overwhelmed him with the weight of his bad conscience; he fell exhausted . . . and cried
out, “I’m such a miserable man!”

Valjean’s encounter with Petit Gervais in Book Two of “Fantine” is the first interaction Valjean has
after he leaves Myriel’s house in Digne. Valjean’s inability to keep his promise to become an honest
man makes him realize how immoral he has become. Hugo’s language in this passage emphasizes the
gravity of this realization and portrays Valjean as physically collapsing under the weight of his
conscience. The desolate setting in which Valjean’s epiphany takes place reflects the extent to which he
has isolated himself from others. Valjean receives no response when he pleads for forgiveness, not even
his own echo. The desolation also suggests that there is an emptiness in Valjean’s soul, which he does
not realize until his encounter with Myriel. This emptiness is expressed by Valjean when he calls
himself “miserable,” a word that connotes both wretched behavior and unhappiness. For the first time in
nearly two decades, Valjean acknowledges his transgressions. By doing so he is finally able to feel
compassion for his victim and recognize his own unhappiness. This scene marks the crucial turning
point in Valjean’s life, in which he begins to transform from a thief into a philanthropist.

Summary and analysis

Chapter 9 Jean Valjean had been overwhelmed by the idea of liberty, but soon realized that a convict’s
yellow passport is no guarantee of true liberty, and he felt deeply bitter. The 171 francs he had
calculated that he had earned in the galleys were reduced for taxes and days off to 109, and he felt
robbed. He attempted to join various labor teams, but was denied each time once he handed over his
yellow passport.

The narrator paints a disapproving picture of the ex-convict’s place in society. Rather than reforming
people, as prisons are supposedly meant to do, they trap convicts into a system from which they cannot
emerge, as they are never able to redeem themselves for their crimes even after they are released.

Chapter 10 We return to the Bishop’s house, where Jean Valjean is awakened by his overly comfortable
bed—he isn’t used to it. He feels troubled, and his thoughts continually return to the six sets of silver
forks and spoons placed on the table. They haunt him, and he knows they’re worth double what he made
in nineteen years in the galleys. After remaining still and thoughtful, he suddenly sits up and puts his
shoes on. After a few more moments, he takes them off again. Then the clock strikes half past three. He
rises again, listens for any noise, and then grabs his knapsack and slips downstairs, through the Bishop’s
open door.
After a long flashback in which the narrator explains how Valjean has arrived at this moment, we return
to a scene in which Valjean’s conscience is once again tormented and split against itself. Because of the
narrator’s earlier explanations, we’re meant to sympathize with Valjean’s torments rather than condemn
him for being tempted to betray the Bishop’s generosity.

Chapter 11 Valjean slowly pushes open the door, shuddering at the noise of the hinge. His blood
pumping, he imagines the household descending on him. But all is silent, and he slips into the Bishop’s
bedroom. The Bishop’s face is illuminated and seems satisfied, hopeful, and content—almost divine.
These emotions terrify Valjean and his uneasy conscience. He is vaguely aware of something sublime
about the Bishop’s face, and he seems torn. But after a few moments, taking off and then replacing his
cap, Valjean steps rapidly past the bed, opens the cupboard, seizes the silverware basket, and returns to
the oratory. He opens the window and jumps into the garden, then leaps over the wall and flees.
We don’t know what is illuminating the Bishop’s face, but this light underlines once again his goodness
and clear conscience. Rather than being healed by such illumination, Valjean finds it excruciatingly
painful, just as a sudden light shone into the darkness can cause pain and blindness. Valjean continues to
struggle internally with what to do, but the social and moral system he learned in the galleys wins out,
so that he leaves like a thief and not through the front door.

Chapter 12 The next morning, Madame Magloire rushes into the garden to inform the Bishop that the
silverware has been stolen. The Bishop calmly tells her that he had been wrong to keep the silver for so
long; it belonged to a poor man far more than to him. As he eats breakfast, a group of gendarmes arrive
with Jean Valjean, who is hanging his head. But the Bishop asks why they’ve brought him back: he had
given the silverware to Valjean as a gift. He tells the gendarmes to release Valjean, but before they do,
he tells Valjean that he’d forgotten the silver candlesticks: the Bishop hands them to Valjean, who’s
trembling. Then he tells Valjean that he must never forget that he’s promised to use this money to
become an honest man. He’s bought back his soul and now gives it to God, he says.
Madame Magloire seems to feel vindicated by the theft, as if it proved that she was right to judge and
condemn Valjean. But the Bishop wants again turns this judgment on its head, condemning himself
instead for his desire to keep the silverware rather than giving it to someone in greater need. Throughout
this exchange, Valjean is physically overwhelmed: he trembles and gasps at the Bishop, whose mercy he
simply cannot wrap his head around. Valjean never actually promised what the Bishop says he did—this
is a way for the Bishop to ask Valjean to reform.

Chapter 13 Jean Valjean hurries out of town, feeling vaguely angry. He is simultaneously touched and
humiliated. In the midst of his raging thoughts, he sees a small Savoyard (from Savoy) boy singing and
walking along the path, playing with coins in his hand, including a 40-sou piece. He tosses up the coins
and that piece rolls towards Valjean, who places his boot over it. The child, who says he’s named
Gervais, asks for his money. Valjean drops his head and remains silent, and Gervais grows increasingly
distraught. Troubled, Jean Valjean doesn’t respond to his pleas, until suddenly he yells at the boy to take
off. The boy runs off, sobbing.
Valjean now finds himself in emotional turmoil. He’s set himself against society, but now finds that a
member of that society—a clergyman, no less—has saved him. However, Valjean still reflexively
retains the criminal instincts and resourcefulness that he’s learned over 19 years in the galleys. As he
drops his head, this bodily memory jars with the new way of life he’s just glimpsed (from the Bishop),
but the former, reflexive reaction wins out this time.
 The sun has just set, and Jean Valjean begins breathing irregularly. He steps forward mechanically and
catches sight of the 40-sou piece shining on the ground. He asks himself what it is and recoils, finally
seizing it and standing back up, shivering like a terrified wild animal. Valjean runs after the child and
shouts out his name. The landscape is deserted and an icy wind is blowing. Valjean sees a priest on
horseback, and asks if he’s seen a small child. Valjean gives the priest several five-franc coins, saying it
is for the poor, and then asks wildly again about Gervais before declaring that he’s a thief and must be
arrested. The priest merely sets off again in alarm.

Valjean looks at the money piece as if he doesn’t know what it is or what he’s done. This is another
piece of evidence for the idea that his theft from little Gervais was no more than a knee-jerk reaction
based on almost two decades of learning this certain kind of skill. It’s through looking at the evidence
itself that Valjean seems to be shaken out of his reverie and is suddenly able to understand what he’s
done.
After running off in Gervais’ direction, Valjean wanders all night calling out to him, and finally breaks
down and cries for the first time in 19 years. When he had first left the Bishop’s house, he had hardened
himself against the priest’s words, perceiving indistinctly that the words were the greatest attack of his
life, and if he yielded he would have to renounce the hatred that had defined him for so long. This
possibility filled him with anxiety. He could not have said why he robbed Gervais, except that it was the
part of him that remained an instinctual beast, while his intelligence was still struggling. Only afterward
did he realize that he had just done something of which he was no longer capable.
Valjean’s tears serve to represent the first step towards softening his heart and allowing himself to
glimpse another kind of relationship between himself and society at large. If the Bishop had judged and
condemned him, his own carefully cultivated judgment of society would not have changed, but now he’s
forced to come to terms with how he lives. The paradox of doing something of which he is no longer
capable suggests Valjean’s excruciating tension between intelligence and animal reaction.
Now Valjean sees himself properly, and he is horrified. He compares the vision of himself to that of
the Bishop, and he himself seems to shrink and then vanish in the Bishop’s magnificent light. As
Valjean weeps, light enters into his soul, and he is able to examine his life that now seems to him
horrible. No one knows where he goes after this, but the narrator confirms that someone did see him
later that night kneeling in front of the Bishop’s residence in prayer.

Earlier the Bishop’s illumination had been almost painful for Valjean to see. Now it is excruciating in a
different way, in that it contrasts so strongly against his own darkness. Still, the narrator’s words suggest
that Valjean can now access some of the Bishop’s light, which allows him to “see” himself and his life
more clearly.
Charles-François-Bienvenu Myriel Character Analysis
Regularly referred to as Bishop of D--, Bienvenu, the novel begins as a story about the Bishop, who is
the embodiment of goodness in the book—even as the narrator suggests that ultimate goodness is not
the same as great intelligence or even theological knowledge. By creating a religious and specifically
Christian figure as the epitome of goodness, Hugo both emphasizes his belief that God is the way to
goodness, and offers an alternative to the conception of many religious figures as corrupt and power -
hungry. The Bishop is the key to Valjean’s redemption—not necessarily in his own person but,
according to the novel, as a conduit to God’s redemption.

Theme of redemption
Valjean steals the silver of a benevolent bishop who is kind enough to offer him food and shelter. But
when he is caught and threatened with a return to prison, the bishop defends him, saying that the silver
was a gift freely given, while later telling Valjean that he must use it to “become an honest man.”

This undeserved mercy shown by the bishop transforms Valjean. In a powerful conversion scene, he
kneels before an altar, wrestling with his hatred for the world and the newfound forgiveness he has
experienced, and eventually allowing the power of this mercy to make him a new man.
 PRIDE AND PREJUDICE
Jane Austen

Characters:
Elizabeth Bennet - The second daughter in the Bennet family, and the most intelligent and
quick-witted, Elizabeth is the protagonist of Pride and Prejudice and one of the most well-
known female characters in English literature. Her admirable qualities are numerous—she is
lovely, clever, and, in a novel defined by dialogue, she converses as brilliantly as anyone. Her
honesty, virtue, and lively wit enable her to rise above the nonsense and bad behavior that
pervade her class-bound and often spiteful society. Nevertheless, her sharp tongue and
tendency to make hasty judgments often lead her astray; Pride and Prejudice is essentially the
story of how she (and her true love, Darcy) overcome all obstacles—including their own
personal failings—to find romantic happiness. Elizabeth must not only cope with a hopeless
mother, a distant father, two badly behaved younger siblings, and several snobbish,
antagonizing females, she must also overcome her own mistaken impressions of Darcy,
which initially lead her to reject his proposals of marriage. Her charms are sufficient to keep
him interested, fortunately, while she navigates familial and social turmoil. As she gradually
comes to recognize the nobility of Darcy’s character, she realizes the error of her initial
prejudice against him.
Fitzwilliam Darcy - A wealthy gentleman, the master of Pemberley, and the nephew of
Lady Catherine de Bourgh. Though Darcy is intelligent and honest, his excess of pride causes
him to look down on his social inferiors. Over the course of the novel, he tempers his class-
consciousness and learns to admire and love Elizabeth for her strong character.
Jane Bennet - The eldest and most beautiful Bennet sister. Jane is more reserved and gentler
than Elizabeth. The easy pleasantness with which she and Bingley interact contrasts starkly
with the mutual distaste that marks the encounters between Elizabeth and Darcy.
Charles Bingley - Darcy’s considerably wealthy best friend. Bingley’s purchase of
Netherfield, an estate near the Bennets, serves as the impetus for the novel. He is a genial,
well-intentioned gentleman, whose easygoing nature contrasts with Darcy’s initially
discourteous demeanor. He is blissfully uncaring about class differences.
Mr. Bennet - The patriarch of the Bennet family, a gentleman of modest income with five
unmarried daughters. Mr. Bennet has a sarcastic, cynical sense of humor that he uses to
purposefully irritate his wife. Though he loves his daughters (Elizabeth in particular), he
often fails as a parent, preferring to withdraw from the never-ending marriage concerns of the
women around him rather than offer help.
Mrs. Bennet - Mr. Bennet’s wife, a foolish, noisy woman whose only goal in life is to see
her daughters married. Because of her low breeding and often unbecoming behavior, Mrs.
Bennet often repels the very suitors whom she tries to attract for her daughters.
George Wickham - A handsome, fortune-hunting militia officer. Wickham’s good looks
and charm attract Elizabeth initially, but Darcy’s revelation about Wickham’s disreputable
past clues her in to his true nature and simultaneously draws her closer to Darcy.
Lydia Bennet - The youngest Bennet sister, she is gossipy, immature, and self-involved.
Unlike Elizabeth, Lydia flings herself headlong into romance and ends up running off with
Wickham.
Mr. Collins - A pompous, generally idiotic clergyman who stands to inherit Mr. Bennet’s
property. Mr. Collins’s own social status is nothing to brag about, but he takes great pains to
let everyone and anyone know that Lady Catherine de Bourgh serves as his patroness. He is
the worst combination of snobbish and obsequious.
Miss Bingley - Bingley’s snobbish sister. Miss Bingley bears inordinate disdain for
Elizabeth’s middle-class background. Her vain attempts to garner Darcy’s attention cause
Darcy to admire Elizabeth’s self-possessed character even more.
Charlotte Lucas - Elizabeth’s dear friend. Pragmatic where Elizabeth is romantic, and also
six years older than Elizabeth, Charlotte does not view love as the most vital component of a
marriage. She is more interested in having a comfortable home. Thus, when Mr. Collins
proposes, she accepts.
Mary Bennet - The middle Bennet sister, bookish and pedantic. Catherine Bennet - The
fourth Bennet sister. Like Lydia, she is girlishly enthralled with the soldiers.
The importance of dance in Pride and Prejudice.
It seems the main purpose for dance in Pride and Prejudice is to explore the social etiquette at
this period of time and also how the characters compare and contrast with one another.
Throughout the novel dance is introduced as a way for people to socialise and it also
demonstrates the etiquette of the characters. Mr Darcy's behaviour at the Meryton ball for
instance was considered rude and it portrays his lack of social etiquette by not dancing with
any one as it would have been expected at these balls. Mr. Bingley, on the other hand danced
every dance and by this behaved as a gentleman should.
Meryton
It is at Meryton where we are first introduced to Mr Bingley and Mr Darcy. Dance is very
significant at this ball as it seems to initiate Jane and Lizzie's relationships with Mr Bingley
and Mr Darcy. 'Mr Bingley had danced with her [Jane] twice', in contrast with this Elizabeth
has 'sat down for two dances'. Dance begins to contrast the sisters as it is evident that Mr
Bingley is interested in Jane by asking her to dance twice whereas Darcy thinks Elizabeth is
'tolerable' and does not ask her to dance at all.
Lucas Lodge
Sir William Lucas states "I consider it [dancing] as one of the first refinements of polished
societies". It suggests that he along with the rest of society see the importance in dance
whereas Darcy believes"Every savage can dance" and he seems to disagree with this view
as he believes that dance is something which anyone can do rather than it showing the status
and ability of someone. This negative approach to dance which Darcy takes shows that he
does not wish to abide by the rules and etiquette of the time.
Netherfield Ball
Lizzy and Darcy dance together for the first time at Netherfield. It is here where the audience
begins to see a clear connection between the pair which was not present before. Austen
suggests that dance is the reason for this bond between them, as previously they both declined
the offer to dance with one another and when the opportunity finally arose the bond
seemingly began to become evident.
Ballroom Dance Scene Purpose
In this adaptation of the ballroom scene it shows the intimacy between the pair and how
dance has in fact brought them together unlike before where it was the main reason for their
disconnection. It was extremely important for a gentleman to dance well, as it reflected upon
his character and abilities. Lizzie's opinion of Mr Collins is portrayed explicitly when they
dance together. 'Mr. Collins, awkward and solemn, apologising instead of attending, and
often moving wrong without being aware of it, gave her all the shame and misery which a
disagreeable partner for a couple of dances can give. The moment of her release from him
was ecstacy.” It is evident that he can not dance well and rather than Mr Collins portraying
himself well he is seen as quite a buffoon.
The ability to carry out a conversation was considered very important also, as it gave them an
idea of their partner’s character. “It is your turn to say something now, Mr. Darcy”, implies
the shortage of things the pair have to say to each other and for Lizzie to point out that it is
his turn to speak illustrates that he is unable to hold an adequate
Courtship
In a sense, Pride and Prejudice is the story of two courtships—those between Darcy
and Elizabeth and between Bingley and Jane. Within this broad structure appear other,
smaller courtships: Mr. Collins’s aborted wooing of Elizabeth, followed by his successful
wooing of Charlotte Lucas; Miss Bingley’s unsuccessful attempt to attract Darcy; Wickham’s
pursuit first of Elizabeth, then of the never-seen Miss King, and finally of Lydia. Courtship
therefore takes on a profound, if often unspoken, importance in the novel. Marriage is the
ultimate goal, courtship constitutes the real working-out of love. Courtship becomes a sort of
forge of a person’s personality, and each courtship becomes a microcosm for different sorts
of love (or different ways to abuse love as a means to social advancement).
tone · Comic—or, in Jane Austen’s own words, “light and bright, and sparkling”
themes · Love; Reputation; Class

Pride and Prejudice key themes:

In Pride and Prejudice, pride is a central theme; misplaced pride generates both comedy and
tragedy, while regulated pride is necessary to good decision-making. Prejudice and swift
judgment almost always lead to error and misunderstanding; Elizabeth misreads Darcy’s
character, and Darcy is too hasty to condemn Elizabeth’s relations.Austen showcases the
human ability to change and grow in her protagonists, who both are brought to realize defects
in their own characters through interaction with each other. Class conflict comes to the
forefront as the rise of the nouveau riche puts the aristocracy on the defensive regarding the
value of parentage and pedigree.
Marriage is central to Pride and Prejudice as the qualities of good and bad marriages come
under the microscope. Austen questions her society’s perceptions of class and money in
marriage.

Pride and Prejudice is Jane Austen's first novel, published in 1813. Some scholars also
consider it one of her most mature novels. Austen began writing Pride and Prejudice under
the title First Impressions in 1796, at the age of twenty-one. She probably wrote the first draft
as an epistolary novel, meaning the plot unfolded through an exchange of letters. In 1797,
Austen's father offered his daughter's manuscript to a publishing company, but they refused
to even consider it. Shortly after completing First Impressions, Austen began writing Sense
and Sensibility, which was not published until 1811. She also wrote some shorter stories
during this time, which she later expanded into full novels. Between 1810 and 1812, Austen
rewrote Pride and Prejudice for publication. While the original ideas in the novel came from
a 21-year-old girl, the final version reflects the literary and thematic maturity of a thirty-five
year old woman who had spent years painstakingly drafting and revising, as Austen did with
all of her novels. Pride and Prejudice is the most popular of Austen's novels.

SUMMARY

Chapter 1
The novel begins at Longbourn, at the Bennet family estate. The Bennets are immersed in an
in-depth conversation about Mr. Bingley, "a single man of large fortune" who is soon to
inhabit the nearby estate of Netherfield Park.
Mrs. Bennet hopes that Mr. Bingley will be a potential suitor for one of her daughters. She
desperately wants her husband to visit him, hoping that will spark an acquaintance. Mr.
Bennet remains aloof, however, and refuses to commit. His attitude infuriates his wife, whose
primary life concern is finding husbands for her daughters.
There are five daughters in the Bennet family (from oldest to youngest): Jane, Elizabeth
Mary, Kitty, and Lydia. It is clear from the beginning of the novel that Mr. Bennet prefers
Elizabeth because of her practical nature. Mrs. Bennet, on the other hand, appears to be more
fond of Jane because of her beauty, and of Lydia because of her good humor.
Chapter 2
Mr. Bennet visits Mr. Bingley without telling his family and only mentions it nonchalantly a
few days later. He had always intended to visit, but kept refusing in order to irk Mrs. Bennet.
After his revelation, Mr. Bennet continues to annoy his wife - and their younger daughters,
too - by refusing to answer any of their questions about the mysterious Bingley.

Chapter 3

Mr. Bingley returns Mr. Bennet's visit a few days later, but the women do not meet him at
that point. Mrs. Bennet's only information about Bingley comes from her neighbor, Mrs.
Lucas. After hearing about him, Mrs. Bennet becomes convinced that she will be able to
snatch Bingley for one of her daughters. She invites Bingley to dinner. Unfortunately, he is
forced to decline because of his commitment to fetch a party from London to attend a ball he
is throwing at nearby Meryton.
On the night of the Meryton ball, the Bennet ladies finally meet Mr. Bingley, his sisters
(Caroline and Mrs. Hurst), and Mr. Darcy, his friend from London. The Bennet girls quickly
judge Mr. Darcy to be "the proudest, most disagreeable man in the world" because of his
reserve and his unwillingness to dance with anyone outside of his own party. At one point,
Bingley encourages Darcy to dance with Elizabeth, who is not dancing either, but he refuses.
Elizabeth overhears Darcy describe her as "tolerable; but not handsome enough to tempt me."
She is understandably outraged, and the encounter solidifies her ill opinion of him.
On the other hand, the Bennet girls find Mr. Bingley to be entirely amiable. He dances the
first dance with Charlotte Lucas, the Bennets's neighbor and Elizabeth's best friend, but he
seems to be most interested in Jane, with whom he dances twice and talks frequently. Upon
returning home, Mrs. Bennet attempts to describe the ball to Mr. Bennet, but he is indifferent
to the news and becomes quickly irritated with everything his wife says.
Chapter 4
When they are alone, Jane admits her feelings for Bingley to Elizabeth. It is clear that the
sisters are quite close. Elizabeth approves of Bingley, but cautions Jane to be certain of the
nature of her feelings because the older Bennet daughter never sees fault in anyone. They also
discuss Caroline and Bingley's other sisters. Elizabeth found them to be snobbish, but Jane
describes them as charming.

The narrator then reveals some important personal information about Bingley and Darcy.
Bingley is extraordinarily wealthy because of a large inheritance from his late father. He has
been friends with Darcy for a long time, despite their opposite personalities. Bingley is easy-
going and open, while Darcy is haughty and reserved. While Bingley found the company at
the Meryton ball to be quite amiable, Darcy saw no one with whom he wished to associate.
Darcy even finds fault with the beautiful Jane; she smiles too much for his taste. Bingley's
sisters approve of Jane, though, which makes their brother happy.

Chapter 5

The narrator describes the Lucas family, who live near Longbourn. Sir William Lucas was
once a merchant, but he has become overly proud after being knighted. His wife, Mrs. Lucas,
is a close confidant of Mrs. Bennet, and their daughter Charlotte is Elizabeth's closest friend.
The day after the ball, Charlotte and Mrs. Lucas visit the Bennet ladies to share their
experiences. They all voice their general admiration for Jane and share the belief that Bingley
is attracted to her. They also criticize Darcy because of his pride. Mary remarks that pride is
universal to human nature, and articulates the difference between pride and vanity. She
comments, "Pride relates more to our opinion of ourselves, vanity to what we would have
others think of us."

Chapter 6

Though they do not care for Mrs. Bennet or the younger Bennet sisters, Bingley's sisters
become acquainted with Jane and Elizabeth over the course of several visits. Jane is pleased
by their attention, while Elizabeth remains critical of them. The Bennet sisters also see
Bingley and Darcy on occasion.

When Elizabeth speaks to Charlotte about Bingley's affection for Jane, Charlotte tells
Elizabeth that Jane must be more obvious about her affection, lest the "uniform cheerfulness
of [her] manner" discourage Bingley. Charlotte believes that a woman should show more
affection than she feels in order to attract a man, commenting that "happiness in marriage is
entirely a matter of chance." Elizabeth is skeptical of both assertions.

During this period, Mr. Darcy grows interested in Elizabeth. He is attracted to her dark,
intelligent eyes and the "easy playfulness" of her manner. At a dinner held by Sir William
Lucas, Darcy eavesdrops on a conversation between Elizabeth and Sir William Lucas. Sir
William, unaware of Darcy's affections, begs Elizabeth to dance with Darcy - but she
steadfastly refuses. Darcy mentions his admiration for Elizabeth to Caroline Bingley.
Caroline responds to his revelation by criticizing the Bennet family, but Darcy does not
partake her the mockery.
Analysis
The opening chapters of Pride and Prejudice serve to quickly introduce Austen's principal
characters and outline the skeleton of the plot. Austen expediently establishes her primary
themes and the stylistic devices through which she will explore the narrative. The very first
line of the novel has become one of the most famous first lines in literature: "It is a truth
universally acknowledged, that a single man in possession of a good fortune, must be in want
of a wife." This opening line establishes the novel's two major themes - marriage and class
(particularly as as defined by money). Most of the characters in Pride and Prejudice are first
and foremost defined by their financial background and marital status. In these the early
chapters, Austen explores the stark contrast between Mrs. Bennet and Elizabeth through their
opinions on these issues. Mrs. Bennet only cares about marriage and money, while Elizabeth
refuses to let these superficial measures control her.
The first line also introduces Austen's use of irony. While the first line focuses on "a single
man . . . in want of a wife," Austen shows her readers over the course of the novel that in the
late-eighteenth and early-nineteenth centuries, marriage was actually more crucial for young
women. If a young woman of a certain class did not find a husband of decent means and
status, she risked becoming a powerless and potentially destitute spinster. While Austen's
choice of wording in this first line frames the man as the active force in seeking marriage, the
plot of Pride and Prejudice emphasizes a woman's role in finding a suitable partner.
This irony leads to the central question surrounding Austen's intent in writing Pride and
Prejudice. Was Austen conservative, poking fun at these institutions but ultimately approving
of them, or was she progressive and subtly trying to upend those social restrictions? Neither
answer has ever produced a scholarly consensus, largely because there is evidence in support
of both interpretations. Austen attacks the purely economic, utilitarian motives for marriage
as well as the societal constraints which leave many women with little choice but to marry.
Yet the plot of Pride and Prejudice seems to suggest that happy unions can exist even within
these strict cultural limitations.
In the conversation between Charlotte and Elizabeth in Chapter 5, Austen leads the reader to
sympathize with Elizabeth, the novel's protagonist. She argues against the utilitarian motive
for marriage and rejects the idea that a women must feign interest in order to secure a man.
From a contemporary perspective, Charlotte's attitude is lamentable if not anti-feminist. She
believes a woman should get married for the sake of security, which will then allow her the
"leisure for falling in love as much as she chuses." Elizabeth speaks up in favor of
individuality, refusing to consider that marriage should be founded on anything other than
love and respect. While the reader naturally aligns with Elizabeth's opinion, Austen
ultimately proves both of Charlotte's arguments to be true. As a result of rejecting Charlotte's
advice, Jane almost loses Bingley. Additionally, many moments in Elizabeth's journey
towards her relationship with Darcy suggest the importance of class in marriage, at least to
some degree.

Critics have praised Austen's ability to bring her characters to life. Critic George Henry
Lewes lauds Austen because "instead of description, the common and easy resource of
novelists, she has the rare and difficult art of dramatic presentation instead of telling us what
her characters are, and what they feel, she presents the people, and they reveal themselves."
For example, the reader's first glimpse of the Bennets provides a fairly accurate sketch of
their individual characters. Mrs. Bennett is chatty, frivolous, and obsessed with marrying off
her daughters, while Mr. Bennett is rather detached. Jane is beautiful and amiable, always
believing the best about people. Elizabeth, good-looking but not as beautiful as her sister, has
a sharp wit and prides herself on her keen sense of perception. Lydia and Kitty are frivolous
like their mother, and Mary is scholarly and humorless.

These initial characterizations motivate the novel's plot. Jane's good nature is partly
responsible for her trouble with Bingley. Because Jane is so pleasant to everyone, Darcy is
later able to convince his friend that Jane is not particularly interested in him. Throughout the
novel, Mrs. Bennet remains "a woman of mean understanding, little information, and
uncertain temper," but as the girls lose their prospects of marriage, it becomes clear that her
excessive insistence is not entirely unfounded. She knows that if her daughters do not marry,
their lives could be ruined. Finally, Elizabeth's keen wit will ultimately be her own worst
enemy, as it leads her to express a sense of pride that rivals Darcy's. This quality proves to
both Elizabeth's strength and her weakness, and her struggle with her pride paves her
character arc.

The Meryton ball introduces the novel's two main couples and foreshadows the distinct ways
in which each relationship will develop. Jane and Bingley are attracted to each other from the
outset, and they both have simple, amiable, and easy-going personalities. However, Bingley
needs to wait for his sisters' approval before feeling "authorised" to like Jane. This shows that
Bingley is easily influenced by others' opinions and foreshadows the difficulties he and Jane
will face. Elizabeth and Darcy, on the other hand, each have unfavorable first impressions of
each other. In fact, Austen originally titled the novel First Impressions because she wanted to
explore the difficulty of changing one person's initial assessment of another. Because of his
pride and extreme class-consciousness, Darcy refuses to even consider Elizabeth as a dancing
partner. And yet, Elizabeth is equally quick to judge Darcy. Elizabeth is not even aware of
the fact that she is overly confident about the accuracy of her perceptions. In fact, Darcy's
refusal offends Elizabeth's vanity more than she admits. This incident is the first time that
Mary's central argument from Chapter 5 becomes clear: pride is how we view ourselves, and
vanity is how others view us.
Austen provides insight into the stony Darcy through his conversation with Caroline Bingley.
While both characters are extremely class-conscious, only Caroline makes the tasteless
statement that rural "society" is "insupportable." When Darcy comments that Elizabeth's "fine
eyes" please him, he shows a willingness - however nascent - to see a person beyond her
class limitations. Once Caroline realizes that Darcy is interested in Elizabeth, she insinuates
that the Bennet family - especially Mrs. Bennet - would be embarrassing in society. Darcy
does not fully disagree, revealing that he possesses more decency than Caroline. And yet, this
conversation underlines the theme that personal prejudices are more difficult to transcend
than class differences.

In the first line of the novel, Austen reveals two of its primary themes: marriage and class
(particularly as indicated by money). In the world of Pride and Prejudice, individuals are
defined by their marital opportunities and financial holdings. However, the irony in this line
conceals an implicit criticism. The line's grammatical focus is on "a single man . . . in want of
a wife," but Austen's novel is centred on her female characters as they struggle to succeed
within this oppressive patriarchy. Each Miss Bennet knows that without a husband of decent
means and status, she risks living a life as a powerless and potentially destitute spinster. That
Austen can imply such a desperate reality in a superficially breezy and straightforward line is
evidence of her mastery.

"Pride...is a very common failing, I believe. By all that I have ever read, I am convinced that

it is very common indeed; that human nature is particularly prone to it, and that there are very

few of us who do not cherish a feeling of self-complacency on the score of some quality or
 other, real or imaginary. Vanity and pride are different things, though the words are often

used synonymously. A person may be proud without being vain. Pride relates more to our

opinion of ourselves, vanity to what we would have others think of us."

- Mary Bennet, Volume I: Chapter 5

Mary gives the reader a lens through which to understand one of the novel's central conceits.
On the surface, Mary offers simple definitions of pride and vanity. Her speech also indicates
that these attributes are "very common." Therefore, she implies that it is best to acknowledge
one's tendency towards such behavior. However, at the beginning of Pride and Prejudice,
both Elizabeth and Darcy believe that they are above pride and vanity. They think they can
exist outside these cultural norms, but are ultimately forced to accept that they do in fact exist
in the context of a greater society. They have responsibilities to others, and should consider to
some extent how their family and friends perceive them.

"It is sometimes a disadvantage to be so very guarded. If a woman conceals her affection with

the same skill from the object of it, she may lose the opportunity of fixing him; and it will

then be but poor consolation to believe the world equally in the dark. There is so much of

gratitude or vanity in almost every attachment, that it is not safe to leave any to itself. We can

all begin freely—a slight preference is natural enough; but there are very few of us who have

heart enough to be really in love without encouragement. In nine cases out of ten a women

had better show more affection than she feels."

- Charlotte Lucas, Volume I: Chapter 6

On one hand, Charlotte's pragmatic view of love, stands in stark contrast to the more
romantic worldview that Elizabeth (and presumably, Austen herself) possesses. However,
Charlotte's philosophy reflects the unfortunate reality that the women in Pride and Prejudice
must face. They live in a patriarchal society. If a man remains single, his greatest risk is
loneliness. However, an unmarried woman faces a potential lack of financial security. In
Charlotte's eyes, this social inequality means that a woman must consider employing
manipulation for the sake of her future. Charlotte follows her own advice when she shows
"more affection than she feels" towards Mr. Collins in order to secure a proposal. Though
Elizabeth's happy ending suggests that it is not always necessary for a woman to be as
pragmatic as Charlotte, her philosophy nevertheless serves as a criticism of a world that so
limits a woman's agency.

"Happiness in marriage is entirely a matter of chance. If the dispositions of the parties are

ever so well known to each other or ever so similar beforehand, it does not advance their

felicity in the least. They always continue to grow sufficiently unlike afterwards to have their

share of vexation; and it is better to know as little as possible of the defects of the person with

whom you are to pass your life."

- Charlotte, Volume I: Chapter 6

Charlotte's pragmatic view of love and marriage actually conceals her fear and desperation.
She sees love as irrelevant to a marriage and believes that a woman ought to limit her
intimacy with her husband in order to avoid the inevitable disappointments. This indicates
that Charlotte sees a husband as a commodity or means to an end. Even though Elizabeth
criticizes Charlotte's recommendation, there was sadly a great deal of truth to it in Jane
Austen's time. Charlotte is aware that if her expectations for a mate are too high, she risks
becoming a struggling spinster. If she lowers her standards, though, she may not find love but
at least she will be comfortable.