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The text of Pride and Prejudice is the 1813 first edition text."Backgrounds and Sources" includes biographical portraits of Austen by members of her family and by acclaimed biographers Claire Tomalin and David Nokes. Seventeen of Austen’s letters--eight of them new to the Third Edition--allow readers to glimpse the close-knit society that was Austen’s world, both in life and in her writing. Samples of Austen’s early writing allow readers to trace her growth as a writer as well as to read her fiction comparatively. "Criticism" features nineteen assessments of the novel, seven of them new to the Third Edition. Among them is an interview with Colin Firth on the recent BBC television adaptation of the novel. Also included are pieces by Richard Whately, Margaret Oliphant, Richard Simpson, D. W. Harding, Dorothy Van Ghent, Alistair Duckworth, Stuart Tave, Marilyn Butler, Nina Auerbach, Susan Morgan, Claudia L. Johnson, Susan Fraiman, Deborah Kaplan, Tara Goshal Wallace, Cheryl L. Nixon, David Spring, Edward Ahearn, and Donald Gray. A Chronology-new to the Third Edition-and a Selected Bibliography are also included.
Next to the exhortation at the beginning of Moby-Dick, "Call me Ishmael," the first sentence of Jane Austen's Pride and Prejudice must be among the most quoted in literature. And certainly what Melville did for whaling Austen does for marriage--tracing the intricacies (not to mention the economics) of 19th-century British mating rituals with a sure hand and an unblinking eye. As usual, Austen trains her sights on a country village and a few families--in this case, the Bennets, the Philips, and the Lucases. Into their midst comes Mr. Bingley, a single man of good fortune, and his friend, Mr. Darcy, who is even richer. Mrs. Bennet, who married above her station, sees their arrival as an opportunity to marry off at least one of her five daughters. Bingley is complaisant and easily charmed by the eldest Bennet girl, Jane; Darcy, however, is harder to please. Put off by Mrs. Bennet's vulgarity and the untoward behavior of the three younger daughters, he is unable to see the true worth of the older girls, Jane and Elizabeth. His excessive pride offends Lizzy, who is more than willing to believe the worst that other people have to say of him; when George Wickham, a soldier stationed in the village, does indeed have a discreditable tale to tell, his words fall on fertile ground.
Having set up the central misunderstanding of the novel, Austen then brings in her cast of fascinating secondary characters: Mr. Collins, the sycophantic clergyman who aspires to Lizzy's hand but settles for her best friend, Charlotte, instead; Lady Catherine de Bourgh, Mr. Darcy's insufferably snobbish aunt; and the Gardiners, Jane and Elizabeth's low-born but noble-hearted aunt and uncle. Some of Austen's best comedy comes from mixing and matching these representatives of different classes and economic strata, demonstrating the hypocrisy at the heart of so many social interactions. And though the novel is rife with romantic misunderstandings, rejected proposals, disastrous elopements, and a requisite happy ending for those who deserve one, Austen never gets so carried away with the romance that she loses sight of the hard economic realities of 19th-century matrimonial maneuvering. Good marriages for penniless girls such as the Bennets are hard to come by, and even Lizzy, who comes to sincerely value Mr. Darcy, remarks when asked when she first began to love him: "It has been coming on so gradually, that I hardly know when it began. But I believe I must date it from my first seeing his beautiful grounds at Pemberley." She may be joking, but there's more than a little truth to her sentiment, as well. Jane Austen considered Elizabeth Bennet "as delightful a creature as ever appeared in print". Readers of Pride and Prejudice would be hard-pressed to disagree. --Alix Wilber