Pride and Prejudice

Jane Austen 지음

섬달 2025년 03월 11일 출간

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Pride and Prejudice (1813) by Jane Austen is a timeless classic set in early 19thcentury
England. The novel centers on Elizabeth Bennet, the second of five
sisters in the Bennet family, and her complex relationship with the wealthy
and reserved Mr. Fitzwilliam Darcy. Elizabeth is intelligent, independent,
and quick-witted, but her initial judgments and prejudices often lead her
to misjudge others, including Darcy. Similarly, Darcy’s pride and aloof
demeanor create a rocky start to their interactions.
As the story unfolds, both characters undergo significant personal
growth. Darcy learns to set aside his pride and act with humility, while
Elizabeth confronts her own prejudices and realizes the errors in her initial
assessments. Their journey from misunderstanding to mutual respect and
love forms the heart of the novel. Alongside their story, Austen weaves in the
lives of the Bennet family and their social circle, offering a humorous yet
sharp critique of the societal norms of the time, particularly the emphasis on
marriage as a means of securing social and financial stability.
Austen’s writing is celebrated for its wit, irony, and keen observation of
human nature. Through Elizabeth and Darcy’s relationship, she explores
themes of love, class, self-awareness, and the importance of overcoming
personal flaws. Pride and Prejudice remains a beloved work, cherished for
its memorable characters, engaging plot, and timeless insights into human
relationships. Its enduring popularity has inspired numerous adaptations,
cementing its place as a cornerstone of English literature.

목차

PREFACE
CHAPTER I
CHAPTER II
CHAPTER III
CHAPTER IV
CHAPTER V
CHAPTER VI
CHAPTER VII
CHAPTER VIII
CHAPTER IX
CHAPTER X
CHAPTER XI
CHAPTER XII
CHAPTER XIII
CHAPTER XIV
CHAPTER XV
CHAPTER XVI
CHAPTER XVII
CHAPTER XVIII
CHAPTER XIX
CHAPTER XX
CHAPTER XXI
CHAPTER XXII
CHAPTER XXIII
CHAPTER XXIV
CHAPTER XXV
CHAPTER XXVI
CHAPTER XXVII
CHAPTER XXVIII
CHAPTER XXIX
CHAPTER XXX
CHAPTER XXXI
CHAPTER XXXII
CHAPTER XXXIII
CHAPTER XXXIV
CHAPTER XXXV
CHAPTER XXXVI
CHAPTER XXXVII
CHAPTER XXXVIII
CHAPTER XXXIX
CHAPTER XL
CHAPTER XLI
CHAPTER XLII
CHAPTER XLIII
CHAPTER XLIV
CHAPTER XLV
CHAPTER XLVII
CHAPTER XLVIII
CHAPTER XLIX
CHAPTER L
CHAPTER LI
CHAPTER LII
CHAPTER LIII
CHAPTER LIV
CHAPTER LV
CHAPTER LVI
CHAPTER LVII
CHAPTER LVIII
CHAPTER LIX
CHAPTER LX
CHAPTER LXI

책 속으로

Walt Whitman has somewhere a fine and just distinction between “loving
by allowance” and “loving with personal love.” This distinction applies
to books as well as to men and women; and in the case of the not very
numerous authors who are the objects of the personal affection, it brings
a curious consequence with it. There is much more difference as to their
best work than in the case of those others who are loved “by allowance” by
convention, and because it is felt to be the right and proper thing to love
them. And in the sect—fairly large and yet unusually choice—of Austenians
or Janites, there would probably be found partisans of the claim to primacy
of almost every one of the novels. To some the delightful freshness and
humour of Northanger Abbey, its completeness, finish, and entrain, obscure
the undoubted critical facts that its scale is small, and its scheme, after
all, that of burlesque or parody, a kind in which the first rank is reached
with difficulty. Persuasion, relatively faint in tone, and not enthralling in
interest, has devotees who exalt above all the others its exquisite delicacy
and keeping. The catastrophe of Mansfield Park is admittedly theatrical, the
hero and heroine are insipid, and the author has almost wickedly destroyed
all romantic interest by expressly admitting that Edmund only took Fanny
because Mary shocked him, and that Fanny might very likely have taken
Crawford if he had been a little more assiduous; yet the matchless rehearsalscenes
and the characters of Mrs. Norris and others have secured, I believe,
a considerable party for it. Sense and Sensibility has perhaps the fewest outand-
out admirers; but it does not want them.
I suppose, however, that the majority of at least competent votes would,
all things considered, be divided between Emma and the present book; and
perhaps the vulgar verdict (if indeed a fondness for Miss Austen be not of
itself a patent of exemption from any possible charge of vulgarity) would go
for Emma. It is the larger, the more varied, the more popular; the author
had by the time of its composition seen rather more of the world, and had
improved her general, though not her most peculiar and characteristic
dialogue; such figures as Miss Bates, as the Eltons, cannot but unite the
suffrages of everybody. On the other hand, I, for my part, declare for Pride
and Prejudice unhesitatingly. It seems to me the most perfect, the most
characteristic, the most eminently quintessential of its author’s works; and
for this contention in such narrow space as is permitted to me, I propose
here to show cause.
In the first place, the book (it may be barely necessary to remind the
reader) was in its first shape written very early, somewhere about 1796, when
Miss Austen was barely twenty-one; though it was revised and finished at
Chawton some fifteen years later, and was not published till 1813, only four
years before her death. I do not know whether, in this combination of the
fresh and vigorous projection of youth, and the critical revision of middle
life, there may be traced the distinct superiority in point of construction,
which, as it seems to me, it possesses over all the others. The plot, though not
PRIDE AND PREJUDICE
8
elaborate, is almost regular enough for Fielding; hardly a character, hardly
an incident could be retrenched without loss to the story. The elopement of
Lydia and Wickham is not, like that of Crawford and Mrs. Rushworth, a coup
de théâtre; it connects itself in the strictest way with the course of the story
earlier, and brings about the denouement with complete propriety. All the
minor passages—the loves of Jane and Bingley, the advent of Mr. Collins, the
visit to Hunsford, the Derbyshire tour—fit in after the same unostentatious,
but masterly fashion. There is no attempt at the hide-and-seek, in-and-out
business, which in the transactions between Frank Churchill and Jane Fairfax
contributes no doubt a good deal to the intrigue of Emma, but contributes it
in a fashion which I do not think the best feature of that otherwise admirable
book. Although Miss Austen always liked something of the misunderstanding
kind, which afforded her opportunities for the display of the peculiar and
incomparable talent to be noticed presently, she has been satisfied here
with the perfectly natural occasions provided by the false account of Darcy’s
conduct given by Wickham, and by the awkwardness (arising with equal
naturalness) from the gradual transformation of Elizabeth’s own feelings
from positive aversion to actual love. I do not know whether the all-grasping
hand of the playwright has ever been laid upon Pride and Prejudice; and I
dare say that, if it were, the situations would prove not startling or garish
enough for the footlights, the character-scheme too subtle and delicate
for pit and gallery. But if the attempt were made, it would certainly not be
hampered by any of those loosenesses of construction, which, sometimes
disguised by the conveniences of which the novelist can avail himself, appear
at once on the stage.
I think, however, though the thought will doubtless seem heretical to
more than one school of critics, that construction is not the highest merit,
the choicest gift, of the novelist. It sets off his other gifts and graces most
advantageously to the critical eye; and the want of it will sometimes mar
those graces—appreciably, though not quite consciously—to eyes by no
means ultra-critical. But a very badly-built novel which excelled in pathetic
or humorous character, or which displayed consummate command of
dialogue—perhaps the rarest of all faculties—would be an infinitely better
thing than a faultless plot acted and told by puppets with pebbles in their
mouths. And despite the ability which Miss Austen has shown in working
out the story, I for one should put Pride and Prejudice far lower if it did not
contain what seem to me the very masterpieces of Miss Austen’s humour
and of her faculty of character-creation—masterpieces who may indeed
admit John Thorpe, the Eltons, Mrs. Norris, and one or two others to their
company, but who, in one instance certainly, and perhaps in others, are still
superior to them.
The characteristics of Miss Austen’s humour are so subtle and delicate that
they are, perhaps, at all times easier to apprehend than to express, and at
any particular time likely to be differently apprehended by different persons.
To me this humour seems to possess a greater affinity, on the whole, to that
of Addison than to any other of the numerous species of this great British
genus. The differences of scheme, of time, of subject, of literary convention,
are, of course, obvious enough; the difference of sex does not, perhaps, count
for much, for there was a distinctly feminine element in “Mr. Spectator,”
and in Jane Austen’s genius there was, though nothing mannish, much that
was masculine. But the likeness of quality consists in a great number of
common subdivisions of quality—demureness, extreme minuteness of touch,
avoidance of loud tones and glaring effects. Also there is in both a certain
PREFACE
9
not inhuman or unamiable cruelty. It is the custom with those who judge
grossly to contrast the good nature of Addison with the savagery of Swift, the
mildness of Miss Austen with the boisterousness of Fielding and Smollett,
even with the ferocious practical jokes that her immediate predecessor,
Miss Burney, allowed without very much protest. Yet, both in Mr. Addison
and in Miss Austen there is, though a restrained and well-mannered, an
insatiable and ruthless delight in roasting and cutting up a fool. A man in
the early eighteenth century, of course, could push this taste further than
a lady in the early nineteenth; and no doubt Miss Austen’s principles, as
well as her heart, would have shrunk from such things as the letter from the
unfortunate husband in the Spectator, who describes, with all the gusto and
all the innocence in the world, how his wife and his friend induce him to
play at blind-man’s-buff. But another Spectator letter—that of the damsel of
fourteen who wishes to marry Mr. Shapely, and assures her selected Mentor
that “he admires your Spectators mightily”—might have been written by a
rather more ladylike and intelligent Lydia Bennet in the days of Lydia’s greatgrandmother;
while, on the other hand, some (I think unreasonably) have
found “cynicism” in touches of Miss Austen’s own, such as her satire of Mrs.
Musgrove’s self-deceiving regrets over her son. But this word “cynical” is one
of the most misused in the English language, especially when, by a glaring
and gratuitous falsification of its original sense, it is applied, not to rough
and snarling invective, but to gentle and oblique satire. If cynicism means
the perception of “the other side,” the sense of “the accepted hells beneath,”
the consciousness that motives are nearly always mixed, and that to seem
is not identical with to be—if this be cynicism, then every man and woman
who is not a fool, who does not care to live in a fool’s paradise, who has
knowledge of nature and the world and life, is a cynic. And in that sense Miss
Austen certainly was one. She may even have been one in the further sense
that, like her own Mr. Bennet, she took an epicurean delight in dissecting, in
displaying, in setting at work her fools and her mean persons. I think she did
take this delight, and I do not think at all the worse of her for it as a woman,
while she was immensely the better for it as an artist.

작가정보

저자(글) Jane Austen

Jane Austen (December 16, 1775 – July 18, 1817) was an English novelist and one of the most beloved and influential writers in English literature. She is best known for her keen portrayal of the lives, loves, marriages, and social hierarchies of the English middle and upper classes in the early 19th century. Austen's works are celebrated for their blend of humor, irony, and social critique, particularly her insightful exploration of women's lives and societal constraints.

Her most famous novels include Pride and Prejudice, Sense and Sensibility, and Emma. Pride and Prejudice, in particular, is regarded as a masterpiece, telling the love story of Elizabeth Bennet and Mr. Darcy while addressing themes of class prejudice and personal growth.

Austen's works go beyond simple romance novels, offering sharp analyses of societal norms and human relationships. Her writing continues to be cherished worldwide and has been adapted into numerous films, TV series, and stage plays. Jane Austen remains a defining figure in English literature, and her works continue to resonate deeply with modern readers.