名家对傲慢与偏见英文评价
What I present is inevitably fallible since it is authentically original.
With both its sensible and courageous heroine's denial of courtship vaccum of mutual respect and reciprocal love and the fulfilling end indicating the matrimony based on genuine love, Pride and Prejudice has long been my favourite novel since my early teenhood. It is true that "Pride and Prejudice" enjoys universal favor, it is ture that it's acknowledged as one of the greatest novels in the 19th century and its author, Jane Austen, has been respected as one of the most distinguished female writer in history.
Yet the re-reading of "P&P" had offered me a new way of understanding and evaluating this classical masterpiece. Elizabeth was once my role model since she shows genuine interests in books and she should know what she wants in marriage. Lizzie is the prototype of a daring princess--she had the mind of her own and would never throw herself to wealthy men; she has good command of skills to argue and to refuse; she undertook the responsibility to protect her youger sister when her much-withdrawing father shuned it; she was not suppressed by her mother like her poor father and nor was she ruined by her mother like her younger sisters; she denied being submissive as Mr Collins offered an courtship. As a young girl who had read too much fairytales in which princesses marry princes the first time they meet without knowing their personalities, and whose conceptions about matrimony was nothing more than a happily-ever-after, I entirely regarded Lizzie as a princess to whom the god had offered a bonus of bravery and ingenuity to challenge the othordoxy.
It is some seven years later and here I am reading P&P and judging the protagonists again. My criteria has changed, though. As I get to know about the patriarchal society in which Lizzie and her sisters and her mothers lived, and as I grow into my early womanhood and become increasingly capable of sympathizing the pressure and fear and social expectations that they had to respond to, I start to associate Lizzie with not a princess, but a sensible lady.
The nineteenth century witnessed a harsh oppression upon women who rely wholy on their male relatives for financial support and social positions. Marriage provides the only salvation if any women wants to improve her social status and living standard. In another work, Jane Austin has pointed out that single women have dreadful propensity for being poor--which is one very strong argument in favor of matrimony. Such was the situation for women, no wonder that the overall conventions could be so suffocating and so maddening that that it had victimized a lot of women. Mrs. Bennet and Miss. Bingley fell into the same category of women who either try every deceitful, evil means to marry a man of higher social ladder for her own sake or wanted her daughters have benefiting marriages. Miss Lucas, who had no choice but to have a marriage without reciprocal love for personal security, is another type. Lydia and Kitty were women who's been ruined by the society that value women only by physical attractiveness and family background. They functioned as selfless, fun-seeking girls who don't have values inside. Lady Catherine DeBurgh represents the proud Aristocrat who despise people from lower classes regardless of their possible good quality. With the recognition of women of these less-respectful types, I become more impressed by Lizzie's well-developed capability of judgements and willfully-preserved pursuits of love in matrimony. Her proud characteristics still reveals
strongly, but it is more justified.
Indeed Lizzie was a proud creature. Her dislike of Mr.Darcy soly resulted from his early offence to her. Darcy's manners of pride and aloofness had actually humiliated Lizzie's pride. Some time before Darcy found his attention being increasingly drawn to her, Lizzie had already decided, out of her pride and the harm done to her pride and her suffering of her tortured and tangled pride, not to like him in the least bit. Her pride was largely originated from her fear of being contempted and being mistakenly regarded as merely the same as her foolish mother and younger sisters, for she probably knew that she has something different--that discrepancy between Lizzie and her mother and sisters had given her a lot more to bear. Her sensitive character gives her the awareness of the existence of the prejudice and disfavourable sentiments against her and her family and her class, and from her defence and defiance and denial of such sentiments, she had formed her own prejudice and disfavourable sentiments against the upper class. It had been, then, a lot of misunderstanding and misjudgements before the defensive pride and prejudice that blinded Lizzie got entirely demolished.
A man of large fortune is surely desirable to single ladies. Yet to a woman of a Lizzie's type, who do, despite the universal of the importance of fortune, value genuine happiness and reciprocal love in a marital relationship, he cannot himself be a form of salvation for her since she defenitely expects more.
When I am reading this book at a second time as a sophomore year assignment, I see clearly how my criteria of judgement alters as my understanding of the world, the relations between men and women and the purpose and reality of marriage advances. Lizzie is no longer that shiny princess who dares to say "no". The original Lizzie that the authoress intended to dicpict becomes more authentic and more vivid, as if I am observing her three-dimentionally.
Lizzie's final fulfilling marriage is no longer a bed-time nice-dream fairytale, but an documentary illustration of managing matrimony with a balancing compromise. Matrimony has long been intrepretted as either the unity of two people who could implant all meaning of life into each other or the only means of practicality of women to acquire an economically better life. Through Lizzie, Jane Austin intended to reveal,with her 19th-century romanticism and her pro-feminist critical judgement, that matrimony is the combination of both.
This, I contend, is the real Austin's voice.
Darcy: Miss Elizabeth. I have struggled in vain and can bear it no longer. These past months have been a torment. I came to Rosings only to see you. I have fought against judgement, my family's expectation,the inferiority of your birth, my rank. I will put them aside and ask you to end my agony.
Elizabeth: I don't understand.
Darcy: I love you.Most ardently. Please do me the honour of accepting my hand.
Elizabeth: Sir, I appreciate the struggle you have been through, and I am very sorry to have caused you pain. It was unconsciously done.
Darcy: Is this your reply?
Elizabeth: Yes, sir.
Darcy: Are you laughing at me?
Elizabeth: No.
Darcy: Are you rejecting me?
Elizabeth: I'm sure the feelings which hindered your regard will help you overcome it.
Darcy: Might I ask why with so little civility I am thus repulsed?
Elizabeth: I might enquire why you told me you liked me against your better judgement? If I was uncivil, then that is some excuse. But you know I have other reasons.
Darcy: What reasons?
Elizabeth: Do you think anything might tempt me to accept the man who has ruined the happiness of a most beloved sister? Do you deny that you separated a young couple who loved each other, exposing your friend to censure for caprice and my sister to derision for disappointed hopes, involving them both in acute misery?
Darcy: I do not deny it.
Elizabeth: How could you do it?
Darcy: I believed your sister indifferent to him. I realised his attachment was deeper than hers.
Elizabeth: She's shy!
Darcy: Bingley was persuaded she didn't feel strongly.
Elizabeth: You suggested it.
Darcy: For his own good.
Elizabeth: My sister hardly shows her true feelings to me. I suppose his fortune had some bearing?
Darcy: I wouldn't do your sister the dishonour. It was suggested...
Elizabeth: What was?
Darcy: It was clear an advantageous marriage...
Elizabeth: Did my sister give that impression?
Darcy: No! No. There was, however, your family...
Elizabeth: Our want of connection?
Darcy: No, it was more than that.
Elizabeth: How, sir?
Darcy: The lack of propriety shown by your mother, younger sisters and your father. Forgive me. You and your sister I must exclude from this.
Elizabeth: And what about Mr Wickham?
Darcy: Mr Wickham?
Elizabeth: What excuse can you give for your behaviour?
Darcy: You take an eager interest.
Elizabeth: He told me of his misfortunes.
Darcy: Oh, they have been great.
Elizabeth: You ruin his chances yet treat him with sarcasm.
Darcy: So this is your opinion of me? Thank you. Perhaps these offences might have been overlooked had not your pride been hurt
by my scruples about our relationship. I am to rejoice in the inferiority of your circumstances?
a gentleman. Your arrogance and conceit, your selfish disdain for the feelings of others made me realise you were the last man in the world I could ever marry.
Darcy: Forgive me, madam, for taking up so much of your time.
清晨遇见
- I couldn't sleep.
- Nor I. My aunt...
-Yes, she was here.
-How can I ever make amends
for such behaviour?
-After what you've done for Lydia
and, I suspect, for Jane, it is I who should be making amends.
-You must know. Surely you must know it was all for you. You are too generous to trifle with me. You spoke with my aunt last night
and it has taught me to hope as I'd scarcely allowed myself before. If your feelings are still what they
were last April, tell me so at once. My affections and wishes
have not changed. But one word from you will silence me for ever.
lf, however,
your feelings have changed...
...I would have to tell you, you have bewitched me,
body and soul, and I love...
I love... I love you.
I never wish to be parted
from you from this day on.（最深情的一段）
-Well, then.
Your hands are cold.（最后他们终于相拥了……）
第一个：By Goldwin Smith ——From “Life of Jane Austen,” in “Great Writers,” 1890.
AS we should expect from such a life, Jane Austen’s view of the world is genial, kindly, and, we repeat, free from anything like cynicism. It is that of a clear-sighted and somewhat satirical onlooker, loving what deserves love, and amusing herself with the foibles, the self-deceptions, the affectations of humanity. Refined almost to fastidiousness, she is hard upon vulgarity; not, however, on good-natured vulgarity, such as that of Mrs. Jennings in “Sense and Sensibility,” but on vulgarity like that of Miss Steele, in the same novel, combined at once with effrontery and with meanness of soul….
To sentimentality Jane Austen was a foe. Antipathy to it runs through her works. She had encountered it in the romances of the day, such as the works of Mrs. Radcliffe and in people who had fed on them. What she would have said if she had encountered it in the form of Rousseauism we can only guess. The solid foundation of her own character was good sense, and her type of excellence as displayed in her heroines is a woman full of feeling, but with her feelings thoroughly under control. Genuine sensibility, however, even when too little under control, she can regard as lovable. Marianne in “Sense and Sensibility” is an object of sympathy, because her emotions, though they are ungoverned and lead her into folly, are genuine, and are matched in intensity by her sisterly affection. But affected sentiment gets no quarter….
Jane Austen had, as she was sure to have, a feeling for the beauties of nature. She paints in glowing language the scenery of Lyme. She speaks almost with rapture of a view which she calls thoroughly English, though never having been out of England she could hardly judge of its scenery by contrast. She was deeply impressed by the sea, on which, she says, “all must linger and gaze, on their first return to it, who ever deserves to look on it at all.” But admiration of the picturesque had “become a mere jargon,” from which Jane Austen recoiled. One of her characters is made to say that he likes a fine prospect, but not on picturesque principles; that he prefers tall and flourishing trees to those which are crooked and blasted; neat to ruined cottages, snug farmhouses to watchtowers, and a troop of tidy, happy villagers to the finest banditti in the world….
Jane Austen held the mirror up to her time, or at least to a certain class of the people of her time; and her time was two generations and more before ours. We are reminded of this as we read her works by a number of little touches of manners and customs belonging to the early part of the century, and anterior to the rush of discovery and development which the century has brought with it. There are no railroads, and no lucifer matches. It takes you two days and a half, even when you are flying on the wings of love or remorse, to get from Somersetshire to London. A young lady who has snuffed her candle out has to go to bed in the dark. The watchman calls the hours of the night. Magnates go about in chariots and four with outriders, their coachmen wearing wigs. People dine at five, and instead of spending the evening in brilliant conversation as we do they spend it in an unintellectual rubber of whist, or a round game. Life is unelectric, untelegraphic; it is spent more quietly and it is spent at home. If you are capable of enjoying tranquillity, at least by way of occasional contrast to the stir and stress of the present age, you will find in these tales the tranquillity of a rural neighborhood and a little country town in England a century ago….
That Jane Austen held up the mirror to her time must be remembered when she is charged with want of delicacy in dealing with the relations between the sexes, and especially in speaking of the views of women with regard to matrimony. Women in those days evidently did consider a happy marriage as the best thing that destiny could have in store for them. They desired it for themselves and they sought it for their daughters. Other views had not opened out to them; they had not thought of professions or public life, nor had it entered into the mind of any of them that maternity was not the highest duty and the crown of womanhood. Apparently they also confessed their aims to themselves and to each other with a frankness which would be deemed indelicate in our time. The more worldly and ambitious of them sought in marriage rank and money, and avowed that they did, whereas they would not avow it at the present day. Gossip and speculation on these subjects were common and more unrefined than they are now, and they naturally formed a large part of the amusement of the opulent and idle class from which Jane Austen’s characters were drawn. Often, too, she is ironical; the love of irony is a feature of her mind, and for this also allowance must be made. She does not approve or reward matchmaking or husband-hunting. Mrs. Jennings, the great matchmaker in “Sense and Sensibilty,” is also a paragon of vulgarity. Mrs. Norris’s matchmaking in “Mansfield Park” leads to the most calamitous results. Charlotte Lucas in “Pride and Prejudice,” who unblushingly avows that her object is a husband with a good income, gets what she sought, but you are made to see that she has bought it dear….
The life which Jane Austen painted retains its leading features, and is recognized by the reader at the present day with little effort of the imagination. It is a life of opulent quiet and rather dull enjoyment, physically and morally healthy compared with that of a French aristocracy, though without much of the salt of duty; a life uneventful, exempt from arduous struggles and devoid of heroism, a life presenting no materials for tragedy and hardly an element of pathos, a life of which matrimony is the chief incident, and the most interesting objects are the hereditary estate and the heir.
Such a life could evidently furnish no material for romance. It could furnish materials only for that class of novel which corresponds to sentimental comedy. To that class all Jane Austen’s novels belong.
第二个：By F. W. Cornish ——From “Jane Austen” in “English Men of Letters.”
JANE AUSTEN needs no testimonials; her position is at this moment established on a firmer basis than that of any of her contemporaries. She has completely distanced Miss Edgeworth, Miss Ferrier, Fanny Burney, and Hannah More, writers who eclipsed her modest reputation in her own day. The readers of “Evelina,” “Ormond,” “Marriage,” or “Caelebs” are few; but hundreds know intimately every character and every scene in “Pride and Prejudice.” She has survived Trollope and Mrs. Gaskell: one may almost say that she is less out of date than Currer Bell and George Eliot. It was not always so. In 1859 a writer in “Blackwood’s Magazine” spoke of her as “being still unfamiliar in men’s mouths” and “not even now a household word.”
The reason for this comparative obscurity in her own time, compared with her fame at the present day, may in some measure be that in writing, as in other arts, finish is now more highly prized than formerly. But conception as well as finish is in it. The miracle in Jane Austen’s writing is not only that her presentment of each character is complete and consistent, but also that every fact and particular situation is viewed in comprehensive proportion and relation to the rest. Some facts and expressions which pass almost unnoticed by the reader, and quite unnoticed by the other actors in the story, turn up later to take their proper place. She never drops a stitch. The reason is not so much that she took infinite trouble, though no doubt she did, as that everything was actual to her, as in his larger historical manner everything was actual to Macaulay.
It is easier to feel than to estimate a genius which has no parallel. Jane Austen’s faults are obvious. She has no remarkable distinction of style. Her plots, though worked out with microscopic delicacy, are neither original nor striking; incident is almost absent; she repeats situations, and to some extent even characters. She cared for story and situation only as they threw light on character. She has little idealism, little romance, tenderness. Poetry, or religion. All this may be conceded, and yet she stands by the side of Moliere, unsurpassed among writers of prose and poetry, within the limits which she imposed on herself, for clear and sympathetic vision of human character.
She sees everything in clear outline and perspective. She does not care to analyze by logic what she knows by intuition; she does not search out the grounds of motive like George Eliot, nor illumine them like Meredith by search-light flashes of insight, nor like Hardy display them by irony sardonic or pitying, nor like Henry James thread a labyrinth of indications and intimations, repulsions and attractions right and left, all pointing to the central temple, where sits the problem. She has no need to construct her characters, for there they are before her, like Mozart’s music, only waiting to be written down.
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19463456755：求Pride and prejudice(傲慢与偏见)英文评价。。最好是名家的。。谢谢...
屈怕阳
：答：What I present is inevitably fallible since it is authentically original.With both its sensible and courageous heroine's denial of courtship vaccum of mutual respect and reciprocal love and the fulfilling end indicating the matrimony based on genuine love, Pride and Prejudice has long bee...
19463456755：Pride and Prejudice
屈怕阳
：答：也有根据书本改编的电影. 傲慢与偏见】简·奥斯汀(Jane Austen，1775—1817)常被二十世纪的文学评论家们和文学史家们誉为真正伟大的英国小说家，因为她使英国小说更臻完美，因此她的小说是最具经典意义的小说。英国著名文学家和评论家基布尔(T．T．Kebble)说“简·奥斯汀是一位喜剧艺术家”，并认为她...
19463456755：谁能帮我弄一篇《傲慢与偏见》英文读后感,500字以上!!急需!!
屈怕阳
：答：傲慢与偏见读后感 The first sentence in this book is impressive. It reads: “It is a truth well known to all the world that an unmarried man in possession of a large fortune must be in need of a wife”. The undertone is very clear: the foundation of the marriage at that t...
19463456755：用英语说《傲慢与偏见》的主要人物和其性格
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：答：Mr.Geogre Wickham:放荡、不诚实、好赌 Charlotte Lucas：聪明但不漂亮、很现实 Mr.Colins:愚蠢、自高自大 Mary Bennent：迂腐（不过比她那几个妹妹好一点）Catherine Bennent（小名Kitty）：喜欢跟着Lydia学坏……本性没Lydia那么贪玩。Georgiana Darcy：小家碧玉（好吧我词穷了）Mr.Bennent:博学、很有...
19463456755：电影《傲慢与偏见》英文简介
屈怕阳
：答：电影《傲慢与偏见》英文简介：Elizabeth Bennet (Keira Knightley) and her sister Jane Bennet (Rosamand Parker), sister Mary Bennet (Dalula Lely), Katie Bennet (Kerry Mulligan) and Lydia Bennet (Gina Malone) are all sisters from small landlord families. Mrs. Bennet's greatest goal in...
19463456755：傲慢与偏见的内容简介英文
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：答：1、英文 The novel depicts a thousand gold among the five waiting girls of the squire Bennet. The protagonist is Elizabeth, his second daughter.She met Darcy at the dance, but she heard that he was arrogant and had been rejecting him.After a lot of setbacks, Elizabeth relieved ...
19463456755：求有关《傲慢与偏见》的书评,最好有书名
屈怕阳
：答：《傲慢与偏见》简·奥斯汀(Jane Austen,1775—1817)常被二十世纪的文学评论家们和文学史家们誉为真正伟大的英国小说家,因为她使英国小说更臻完美,因此她的小说是最具经典意义的小说。难怪爱尔兰文学家、著名作家和文学评论家弗兰克·奥康瑙尔(Rrank O"Connor)说:“我认为简·奥斯汀是最伟大的小说家。绝对是最伟大...
19463456755：关于傲慢与偏见的论文集
屈怕阳
：答：文学批评家马克肖尔这样评价《傲慢与偏见》:“《傲慢与偏见》及奥斯丁后期的小说会令愚顿者震撼。如她的见解能被认同,这个由愚顿者构成的社会必将脱胎换骨。”[2] 三、三段婚姻展现三重境界 人们的择偶动机决定人们的择偶标准。择偶动机不同,人们的择偶标准也不会相同。自古以来,人们的择偶标准既要遵循婚姻的自然...
19463456755：傲慢与偏见电影
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：答：傲慢与偏见Pride and Prejudice(1940) 导演: Robert Z. Leonard 主演: 葛丽亚·嘉逊 Greer Garson 劳伦斯·奥利弗 Laurence Olivier 玛丽·博兰 Mary Boland ... 国家/地区: 美国 对白语言:英语 上映日期:1940年7月26日 美国 ... 类型:剧情/喜剧 片长:117 min 剧情简介 本片主角是班纳特家的五个女儿,势利眼...
19463456755：电影傲慢与偏见的摘要英文!!最好带上中文翻译
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：答：电影傲慢与偏见的摘要英文!!最好带上中文翻译 不要对话!只要内容摘要!求大神降临... 不要对话!只要内容摘要!求大神降临 展开 我来答 1个回答 #热议# 网文质量是不是下降了?百度网友21e7570 2011-05-14 · TA获得超过205个赞 知道小有建树答主 回答量:111 采纳率:0% 帮助的人:142万 我...
