Fiction > Harvard Classics > Jane Austen > Pride and Prejudice > Criticisms and Interpretations > III
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Jane Austen. (1775–1817).  Pride and Prejudice.
The Harvard Classics Shelf of Fiction.  1917.
  
Criticisms and Interpretations
III. By W. F. Pollock
  
MISS AUSTEN never attempts to describe a scene or a class of society with which she was not herself thoroughly acquainted. The conversations of ladies with ladies, or of ladies and gentlemen together, are given, but no instance occurs of a scene in which men only are present. The uniform quality of her work is one most remarkable point to be observed in it. Let a volume be opened at any place: there is the same good English, the same refined style, the same simplicity and truth. There is never any deviation into the unnatural or exaggerated; and how worthy of all love and respect is the finely disciplined genius which rejects the forcible but transient modes of stimulating interest which can so easily be employed when desired, and which knows how to trust to the never-failing principles of human nature! This very trust has sometimes been made an objection to Miss Austen, and she has been accused of writing dull stories about ordinary people. But her supposed ordinary people are really not such very ordinary people. Let anyone who is inclined to criticise on this score endeavor to construct one character from among the ordinary people of his own acquaintance that shall be capable of interesting any reader for ten minutes. It will then be found how great has been the discrimination of Miss Austen in the selection of her characters, and how skillful is her treatment in the management of them. It is true that the events are for the most part those of daily life, and the feelings are those connected with the usual joys and griefs of familiar existence; but these are the very events and feelings upon which the happiness or misery of most of us depends; and the field which embraces them, to the exclusion of the wonderful, the sentimental, and the historical, is surely large enough, as it certainly admits of the most profitable cultivation. In the end, too, the novel of daily real life is that of which we are least apt to weary: a round of fancy balls would tire the most vigorous admirers of variety in costume, and the return to plain clothes would be hailed with greater delight than their occasional relinquishment ever gives. Miss Austen’s personages are always in plain clothes, but no two suits are alike: all are worn with their appropriate differences, and under all human thoughts and feelings are at work.—From “Fraser’s Magazine,” January, 1860.   1

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