《 ào màn yǔ piān jiàn》 shì jiǎn · ào sī dīng de dài biǎo zuò， shì yī bù jīng diǎn de xiǎo shuō。 zhè bù zuò pǐn yǐ rì cháng shēng huó wéi sù cái， yī fǎn dāng shí shè huì shàng liú xíng de gǎn shāng xiǎo shuō de nèi róng hé jiáo róu zào zuò de xiě zuò fāng fǎ， shēng dòng dì fǎn yìng liǎo 18 shì jì mò dào 19 shì jì chū chǔyú bǎo shǒu hé bìsè zhuàng tài xià de yīng guó xiāng zhèn shēng huó hé shì tài rén qíng。 zhè bù shè huì fēng qíng huà shì de xiǎo shuō bù jǐn zài dāng shí xī yǐn zhe guǎng dà de dú zhě， shí zhì jīn rì， réng gěi dú zhě yǐ dú tè de yì shù xiǎng shòu。《 ào màn yǔ piān jiàn》 yǐ hūn yīn jià qǔ hé jiā tíng fēng bō wéi tí cái， miáo xiě zì jǐ shú rěn de xiāng jiān suǒ wèi tǐ miàn rén jiā de shēng huó yǔ jiāo wǎng， xiàng zài “ èr cùn xiàng yá ” shàng“ xì xì dì miáo huà”， kàn sì píng fán 'ér suǒ suì， xiǎo tiān dì què kě yìng chū dà shì jiè， yīn cǐ shǐ zhōng néng yǐn qǐ cháng shèng bù shuāi、 yǎ sú gòng shǎng de xīng qù， yīng guó shī rén hé lì shǐ xiǎo shuō jiā sī gè tè céng shuō，“ zài miáo xiě rén men rì cháng shēng huó zhōng gè zhǒng cuò zōng fù zá de suǒ shì， nèi xīn qíng gǎn hé rén wù xìng gé fāng miàn， zhè wèi gū niàn hěn yòu cái néng。 zhè zhǒng cái néng shì wǒ suǒ yù dào de zuì lìng rén shǎng xīn yuè mùdì。” zhèng shì jiǎn . ào sī dīng lú huǒ chún qīng de yǔ yán miáo xiě gōng lì， shǐ bǐ xià de rén wù xǔ xǔ rú shēng， nài rén xún wèi。
　　 ào màn yǔ piān jiàn [ xiǎo shuō ]- zuò zhě jiǎn jiè
　　
　　 jiǎn · ào sī tīng jiǎn · ào sī tīng
　　
　　 jiǎn · ào sī tīng chū shēng yú 1775 nián 12 yuè 16 rì， shì qiáo zhì · ào sī tīng jiā de dì qī gè hái zǐ。 jiǎn · ào sī tīng yī zhí guò zhe 'ān jìng píng hé de yǐn jū shēng huó， tā yī shēng wèi hūn。 yīng guó wén xué shǐ shàng chū xiàn guò jǐ cì qù wèi gé mìng， wén xué kǒu wèi de fān xīn jīhū yǐng xiǎng liǎo suǒ yòu zuò jiā de shēng yù， wéi dú suō shì bǐ yà hé 'ào sī tīng jīng jiǔ bù shuāi。 ér zhè wèi wěi dà de nǚ xìng yī shēng zhǐ zǒu guò liǎo 42 gè chūn xià qiū dōng。 1817 nián 7 yuè 8 rì， tā sǐ yú wēn chè sī tè， zàng yú dāng dì dà jiào táng。
　　
　　 tā de fù qīn shì sī dì wén dùn de jiào qū cháng， yě shì yī wèi cáng shū pō fēng de bó xué zhī tǔ。 tā de mǔ qīn míng jiào kǎ sāng dé lā · lǐ · ào sī tīng， chū shēn yú guì zú jiā tíng。 jiǎn zhǐ yòu yī gè jiě jiě， jiào kǎ sāng dé lā， bìng yī shēng dū yǔ tā bǎo chí zhe mìqiè de lián xì。 jiǎn de tóng bāo xiōng dì cóng shì zhe bù tóng de zhí yè： yòu jǐ gè dān rèn shèng zhí， yī gè shì yínháng jiā， qí tā de zé zài jūn duì fú yì。 jìn guǎn tā de jiā tíng bù shì míng mén wàng zú， yě méi yòu fù jiá yī fāng， dàn qiáo zhì · ào sī tīng hěn zhòng shì jiào yù， shèn zhì duì nǚ 'ér yě bù lì wài。 jiǎn hé kǎ sāng dé lā shàng liǎo jǐ nián xué， zhī hòu jiù zài jiā lǐ xué xí， zhù yào shì guǎng fàn yuè dú gè zhǒng shū jí hé zī liào， bìng cóng fù xiōng men yǔ fǔ dǎo de xué shēng zhī jiān yòu qù de tǎo lùn zhōng huò yì。 tōng guò zì jǐ de nǔ lì， jiǎn shú zhī 18 shì jì de yīng guó wén xué。
　　
　　 jiǎn · ào sī tīng shēng qián nì míng chū bǎn liǎo sì bù xiǎo shuō：《 lǐ zhì yǔ qíng gǎn》 (1811)、《 ào màn yǔ piān jiàn }》 (1813)、《 màn sī fěi 'ěr dé zhuāng yuán》 (1814) hé《 ài mǎ》 (1815)。 lìng wài liǎng bù，《 nuò sāng gé xiū dào yuàn》 hé《 quàn dǎo》 shì tā qù shì hòu yú 1817 nián chū bǎn de。 tā de zhè xiē xiǎo shuō yǐ qí duì yīng guó shè huì hé fēng sú de fěng cì xìng miáo shù 'ér wén míng yú shì。
　　
　　 ào sī tīng suǒ chù de yīng guó shè huì shì yī gè jiē jí děng jí fēn míng de shè huì。 ér jiē jí de qū fēn zhù yào yuán yú jiā zú yǔ cái fù。 ào sī tīng zài tā de zuò pǐn zhōng jīng cháng pī píng yīng guó shàng céng jiē jí de zì fù hé piān jiàn。 jiǎn zhù yì qū fēn rén de nèi zài jià zhí ( gè rén pǐn dé ) hé wài zài jià zhí ( dì wèi hé cái chǎn )。 jiǎn suī rán jīng cháng fěng cì shì lì xiǎo rén， dàn yě cháo xiào chū shēn dī wēi de rén quē fá jiào yǎng hé jǔ zhǐ bù dāng。 zǒng de lái shuō， ào sī tīng shì yī gè xiàn shí zhù yì zuò jiā， tā suǒ miáo huì de yīng guó shì yī gè quē shǎo biàn huà dàn jiē jí yì shí qiáng liè de shè huì。
　　
　　 cóng 18 shì jì mò dào 19 shì jì chū，“ gǎn shāng xiǎo shuō” hé“ gē tè xiǎo shuō” chōng chì yīng guó wén tán， ér 'ào sī tīng de xiǎo shuō pò jiù lì xīn， yī fǎn cháng guī dì zhǎn xiàn liǎo dāng shí shàng wèi shòu dào zī běn zhù yì gōng yè gé mìng chōng jī de yīng guó xiāng cūn zhōng chǎn jiē jí de rì cháng shēng huó hé tián yuán fēng guāng。 tā de zuò pǐn wǎng wǎng tōng guò xǐ jù xìng de chǎng miàn cháo fěng rén men de yú chǔn、 zì sī、 shì lì hé máng mù zì xìn děng kě bǐ kě xiào de ruò diǎn。 ào sī dīng de xiǎo shuō chū xiàn zài 19 shì jì chū yè， yī sǎo fēng xíng yī shí de jiǎ làng màn zhù yì cháo liú， jì chéng hé fā zhǎn liǎo yīng guó 18 shì jì yōu xiù de xiàn shí zhù yì chuán tǒng， wéi 19 shì jì xiàn shí zhù yì xiǎo shuō de gāo cháo zuò liǎo zhǔn bèi。 suī rán qí zuò pǐn fǎn yìng de guǎng dù hé shēn dù yòu xiàn， dàn tā de zuò pǐn rú“ liǎng cùn yá diāo”， cóng yī gè xiǎo chuāng kǒu zhōng kuī shì dào zhěng gè shè huì xíng tài hé rén qíng shì gù， duì gǎi biàn dāng shí xiǎo shuō chuàng zuò zhōng de fēng qì qǐ liǎo hǎo de zuò yòng， zài yīng guó xiǎo shuō de fā zhǎn shǐ shàng yòu chéng shàng qǐ xià de yì yì， bèi yù wéi dì wèi“ kě yǔ suō shì bǐ yà píng qǐ píng zuò” de zuò jiā。 tā zuì xǐ 'ài de zuò jiā shì 18 shì jì gǔ diǎn zhù yì hé lǐ zhì de diǎn fàn sài miù 'ěr · yuē hàn xùn。 ào sī tīng de xiǎo shuō biǎo xiàn chū yī zhǒng qíng gǎn shàng de mó lēng liǎng kě， yǐ jí duì cōng míng cái zhì yǔ zì rán měi de zàn shǎng， zhè xiē tè diǎn shǐ qí zuò pǐn hé làng màn zhù yì zǒu dào yī qǐ。 yí hàn de shì， jiǎn · ào sī tīng de xiǎo shuō zài tā shēng qián bìng wèi shòu dào hǎo píng。 dàn shì hòu lái， yóu qí shì zài 20 shì jì， tā de xiǎo shuō yuè lái yuè shòu huān yíng。 rú jīn， jiǎn · ào sī tīng yǐ jīng jī shēn yú yīng guó zhēn zhèng wěi dà de zuò jiā zhī liè。 jiǎn · ào sī tīng shì shì jiè shàng wéi shù jí shǎo de zhù míng nǚ xìng zuò jiā zhī yī， jiè yú xīn gǔ diǎn zhù yì hé làng màn yùn dòng de shū qíng zhù yì zhī jiān de“ xiǎo fú huà jiā” hé“ jiā tíng xiǎo shuō” jiā， wén xué píng lùn jiā yǎn lǐ kān yǔ suō shì bǐ yà zài bù xiǔ xìng fāng miànxiàng tí bìng lùn de yīng guó zuò jiā。
　　 ào màn yǔ piān jiàn [ xiǎo shuō ]- chuàng zuò bèi jǐng
　　
　　《 ào màn yǔ piān jiàn》 shì jiǎn · ào sī tīng zuì zǎo wán chéng de zuò pǐn， tā zài 1796 nián kāi shǐ dòng bǐ， qǔ míng wéi《 zuì chū de yìn xiàng》， 1797 nián 8 yuè wán chéng。 tā fù qīn kàn hòu hěn gǎn dòng， tè yì ná gěi tānɡ mǎ · kǎ shì dé 'ěr， qǐng tā chū bǎn， dàn duì fāng yī kǒu huí jué， shǐ dé tā men shí fēn shī wàng。 hòu lái， tā zhòng xiě liǎo《 zuì chū de yìn xiàng》， bìng gǎi míng wéi“ ào màn yǔ piān jiàn” yú 1813 nián 1 yuè chū bǎn。
　　 ào màn yǔ piān jiàn [ xiǎo shuō ]- nèi róng jiǎn jiè
　　
　　 nǚ zhùjué：： yī lì suō bái
　　 nán zhùjué： dá xī
　　 zhòng yào pèijué： jiǎn（ yī lì suō bái de jiě jiě）、 bīn lì（ dá xī de hǎo péng yǒu）
　　 nèi róng tí yào
　　《 ào màn yǔ piān jiàn》 shì miáo xiě yī lì suō bái bèi nèi tè hé wēi lián dá xī zhè duì qīng nián nán nǚ zhī jiān de 'ài qíng gù shì， qǐ chū tā men liǎ rén zǒng shì huà bù tóu jī。 gù shì fā shēng zài 18 shì jì hòu qī， jù lí yīng guó lún dūn， xiào wài yuē 50 yīng lǐ de hè tè fú dé jùn（ wèi yú yīng guó yīng gé lán dōng nán bù）， shū zhōng shēng dòng dì miáo huì liǎo dāng shí fù nǚ shēng huó de jiān nán， tā men jīhū dōubù néng bǎ wò zì jǐ de mìng yùn。 yóu yú 18 shì jì de yīng guó shè huì shí fēn kàn zhòng shè huì dì wèi hé gè rén jǔ zhǐ fēng dù yǔ cái yì， nǚ rén mendōu jié jìn suǒ néng qù xún mì fù yòu de zhàng fū。
　　 xiáng xì nèi róng
　　 xiǎo xiāng shēn bān nà tè yòu wǔ gè dài zì guī zhōng de qiān jīn， bān nà tè tài tài zhěng tiān cāo xīn zhe wéi nǚ 'ér wù sè chènxīn rú yì de zhàng fū。 xīn lái de lín jū bīn gé lāi (Charles) shì gè yòu qián de dān shēn hàn， tā lì jí chéng liǎo bān nà tè tài tài zhuī liè de mù biāo。 zài yī cì wǔ huì shàng， bīn gé lāi duì bān nà tè jiā de dà nǚ 'ér jiǎn (Jane) yī jiàn zhōng qíng， bān nà tè tài tài wèicǐ xīn xǐ ruò kuáng。 cān jiā wǔ huì de hái yòu bīn gé lāi de hǎo yǒu dá xī (Darcy)。 tā yí biǎo táng táng， fēi cháng fù yòu， xǔ duō gū niàn fēn fēn xiàng tā tóu qù xiàn mù de mù guāng； dàn tā fēi cháng jiāo 'ào， rèn wéi tā mendōu bù pèi zuò tā de wǔ bàn， qí zhōng bāo kuò jiǎn de mèi mèi yī lì suō bái (Elizabeth)。 yī lì suō bái zì zūn xīn hěn qiáng， jué dìng bù qù lǐ cǎi zhè gè 'ào màn de jiā huǒ。 kě shì bù jiǔ， dá xī duì tā huó pō kě 'ài de jǔ zhǐ chǎn shēng liǎo hǎo gǎn， zài lìng yī cì wǔ huì shàng zhù dòng qǐng tā tóng wǔ， què zāo dào yī lì suō bái de jù jué， dá xī láng bèi bù kān。
　　
　　 bīn gé lāi de mèi mèi kǎ luó lín (Caroline) yī xīn zhuī qiú dá xī， tā fā xiàn dá xī yòu yì yú yī lì suō bái， dù huǒ zhōng shāo， jué yì cóng zhōng zǔ náo。 ér zāo dào yī lì suō bái lěng yù de dá xī yě bǐ shì bān nà tè tài tài jí qí xiǎo nǚ 'ér lì dí yà (Lydia) de cū sú。 zài mèi mèi hé hǎo yǒu dá xī de quàn shuō xià， bīn gé lāi bù cí 'ér bié， qù liǎo lún dūn， dàn jiǎn duì tā hái shì yī piàn shēn qíng。
　　
　　 bān nà tè méi yòu 'ér zǐ， tā de jiā chǎn jiāng yóu yuǎn qīn kē lín sī (Collins) jì chéng。 kē lín sī cū bǐ wú zhī， què shàn yú qū yán fù shì， jū rán dāng shàng mù shī。 tā xiàng yī lì suō bái qiú hūn， zāo jù jué hòu， mǎ shàng yǔ tā de nǚ yǒu xià luò tè (Charlotte) jié hūn。
　　
　　 fù jìn xiǎo zhèn de mín tuán lián duì lǐ yòu gè yīng jùn xiāo sǎ de qīng nián jūn guān wēi kěn (Wickham)， rén réndōu kuā tā， yī lì suō bái yě duì tā chǎn shēng liǎo hǎo gǎn。 yī tiān， tā duì yī lì suō bái shuō， tā fù qīn shì dá xī jiā de zǒng guǎn， dá xī de fù qīn céng gěi tā yī dà bǐ yí zèng， què bèi dá xī tūn méi liǎo。 yī lì suō bái tīng hòu， duì dá xī gèng jiā fǎn gǎn。
　　 kē lín sī fū fù qǐng yī lì suō bái qù tā men jiā zuò kè， yī lì suō bái zài nà lǐ yù dào dá xī de yí mā kǎi sè lín (Catherine)， bù jiǔ， yòu jiàn dào liǎo dá xī。 tóng shí yě rèn shí liǎo wēi lián shàoxiào， cóng tā kǒu zhōng dé zhī dá xī cáng qǐ tā jiě jiě de xìn， shǐ yī lì suō bái duì dá xī de tǎo yàn dá dào dǐng fēng。 suǒ yǐ zài dá xī wú fǎ yì zhì zì jǐ duì yī lì suō bái de 'ài mù zhī qíng， xiàng tā qiú hūn de shí hòu， dàn tài dù hái shì nà me 'ào màn。 yī lì suō bái jiān jué dì xiè jué liǎo。 zhè yī dǎ jī shǐ dá xī dì yī cì rèn shí dào jiāo 'ào zì fù suǒ dài lái de 'è guǒ， tā tòng kǔ dì lí kāi liǎo tā， lín zǒu qián liú xià yī fēng cháng xìn zuò liǎo jǐ diǎn jiě shì： tā chéng rèn bīn gé lāi bù cí 'ér bié shì tā cù shǐ de， yuán yīn shì tā bù mǎn bān nà tè tài tài de qīng fú hé bǐ sú， bìng qiě rèn wéi jiǎn bìng méi yòu zhōng qíng yú bīn gé lāi； wēi kěn shuō de què quán shì huǎng yán， shì shí shì wēi kěn zì jǐ bǎ nà bǐ yí chǎn huī huò dài jìn， hái qǐ tú gòu yǐn dá xī de mèi mèi sī bēn。 yī lì suō bái dú xìn hòu shí fēn hòu huǐ， jì duì cuò guài dá xī gǎn dào nèi jiù， yòu wéi mǔ qīn de xíng wéi xiū kuì， hái duì zì jǐ de piān jiàn shēn shēn 'ào huǐ。 tā zhú jiàn gǎi biàn liǎo duì dá xī de kàn fǎ。
　　
　　 dì 'èr nián xià tiān， yī lì suō bái suí jiù fù mǔ lái dào dá xī de zhuāng yuán， yǔ tā zài cì xiāng yù。 tā fā xiàn dá xī biàn liǎo， bù jǐn duì rén bīn bīn yòu lǐ， zài dāng dì hěn shòu rén men zūn jìng， ér qiě duì tā mèi mèi fēi cháng 'ài hù。 tā duì tā de piān jiàn xiāo chú liǎo。 zhèng dāng qí shí， yī lì suō bái jiē dào jiā xìn， shuō xiǎo mèi lì dí yà suí shēn fù lěi lěi dǔ zhài de wēi kěn sī bēn liǎo。 zhè zhǒng jiā chǒu shǐ yī lì suō bái fēi cháng nán kān， yǐ wéi dá xī huì gèng qiáo bù qǐ zì jǐ。 dàn shì shí chū hū tā de yì liào， dá xī dé zhī shàng shù xiāo xī yǐ hòu， zài jiù fù mǔ de bāng zhù xià， bù jǐn tì wēi kěn hái qīng dǔ zhài， hái gěi liǎo tā yī bǐ jù kuǎn， ràng tā yǔ lì dí yà wán hūn。 zì cǐ yǐ hòu， yī lì suō bái wǎng rì duì dá xī de zhǒng zhǒng piān jiàn tǒng tǒng huà wéi zhēn chéng zhī 'ài。
　　
　　 bīn gé lāi hé jiǎn jīng guò yī fān zhōu zhé， yán guī yú hǎo， yī duì qíng rén chén jìn zài huān lè zhī zhōng。 ér yī xīn xiǎng ràng zì jǐ de nǚ 'ér 'ān nī (Anne) jià gěi dá xī de kǎi sè lín fū rén cōng cōng gǎn lái， mánhèng dì yào yī lì suō bái bǎo zhèng bù yǔ dá xī jié hūn。 yī lì suō bái duì zhè yī wú lǐ yào qiú duàn rán jù jué。 cǐ shì chuán dào dá xī 'ěr zhōng。 tā zhī dào yī lì suō bái yǐ jīng gǎi biàn liǎo duì zì jǐ de kàn fǎ， chéng kěn dì zài cì xiàng tā qiú hūn。 dào cǐ， yī duì céng yīn 'ào màn hé piān jiàn 'ér yán gē hūn shì de yòu qíng rén zhōng chéng juàn shǔ。
　　 ào màn yǔ piān jiàn [ xiǎo shuō ]- yǔ yán tè sè
　　
　　《 ào màn yǔ piān jiàn》 shì jiǎn · ào sī dīng (JaneAusten) de dài biǎo zuò pǐn， xiě yú shí bā shì jì jiǔ shí nián dài， qí yǐng xiǎng jīng lì liǎng shì jì 'ér bù shuāi， bìng duì hòu dài zuò jiā chǎn shēng yǐng xiǎng， qí zhòng yào de yuán yīn zhī yī jiù shì xiǎo shuō de yǔ yán mèi lì。 zài yǔ yán zhōng duì huà shì wén xué zuò pǐn sù zào rén wù xíng xiàng zuì jī běn de shǒu duàn zhī yī， jiǎn . ào sī dīng bǐ xià de rén wù duì huà xiān míng shēng dòng， pō jù gè xìng， hán yì fēng fù， nài rén xún wèi。 běn wén yòng huì huà hé zuò yuán zé fēn xī《 ào màn yǔ piān jiàn》 shū zhōng de rén wù duì huà fēng gé， jiě kāi jiǎn · ào sī dīng zuò pǐn zhōng rén wù duì huà yǔ yán fēng gé jī zhì yōu mò miào qù héng shēng zhī mí。 ào sī dīng de yǔ yán shì jīng guò chuí liàn de， tā zài duì huà yì shù shàng jiǎng jiū yōu mò、 huī xié fēng qù、 fěng cì， zhè zhǒng yì shù chuàng xīn shǐ tā de zuò pǐn jù yòu zì jǐ de tè sè， ér zhè zhǒng fù yòu tè sè de yǔ yán zài《 ào màn yǔ piān jiàn》 zhōng fā huī dé yóu wéi lín lí jìn zhì。
　　
　　 bǐ rú zài xiě bān nà tè tài tài shí， zuò zhě jiù zhè yàng xiě dào：“ zhǐ yào pèng dào bù chēng xīn de shì， tā jiù zì yǐ wéi shén jīng shuāi ruò。” yòu zài bān nà tè tài tài yǔ qí zhàng fū de duì huà zhōng xiě dào：“ wǒ de hǎo lǎo yé， nǐ zěn me shè dé zhè yàng zāo tà zì jǐ de qīn shēng nǚ 'ér？ nǐ shì zài gù yì jiào wǒ qì nǎo， hǎo ràng nǐ zì jǐ dé yì bā。 nǐ bàn diǎn yě bù tǐ liàng wǒ de shén jīng shuāi ruò。”“ nǐ zhēn cuò guài liǎo wǒ， wǒ de hǎo tài tài。 wǒ fēi cháng zūn zhòng nǐ de shén jīng。 tā men shì wǒ de lǎo péng yǒu。 zhì shǎo zài zuì jìn 'èr shí nián yǐ lái， wǒ yī zhí tīng dào nǐ zhèng zhòng qí shì dì tí dào tā men。” huó líng huó xiàn de yǔ yán， jué miào de cháo fěng yǔ huī xié， lì kè shǐ liǎng gè bù tóng de rén wù xíng xiàng zài dú zhě nǎo hǎi zhōng biàn dé lì tǐ 'ér qīng xī。
　　
　　 zài rú lìng yī gè piàn duàn de miáo xiě： kā tái lín fū rén de mǎ chē lù guò mén kǒu， kē lín sī mù shī quán jiā shǒu máng jiǎo luàn chū qù yíng jiē， yī lì suō bái què shuō：“ jiù shì zhè me huí shì má？ wǒ hái yǐ wèishì zhū luó chuǎng jìn liǎo huā yuán ní。” zhí shuài de wā kǔ， chuō chuān liǎo kā tái lín fū rén zì jǐ chuī qǐ lái de hǔ rén jià shì， yě shǐ yī lì suō bái zhè gè miè shì quán guì de xíng xiàng zài rén men nǎo hǎi zhōng liú xià liǎo gēngshēn de yìn xiàng， yuè fā jué dé tā de kě 'ài。 ào sī tīng hái shàn yú tōng guò zuì pǔ tōng de yǔ yán ràng rén wù zì jǐ bào lù zì jǐ。 lì rú xiǎo shuō kāi tóu shí， bān nà tè tài tài céng shuō láng gé tài tài“ shì gè zì sī zì lì、 jiǎ rén jiǎ yì de nǚ rén， wǒ qiáo bù qǐ tā。” ér dào gù shì de jié wěi， dāng qí dà nǚ 'ér yǔ bīn gé lāi de hūn shì yǐ chéng dìng jú shí， tā yòu shuō“ wǒ jué dé láng gé tài tài zhè gè rén zhēn shì tài hǎo liǎo。” zhè liǎng duàn jié rán xiāng fǎn de huà， ràng dú zhě bù jìn yǎ rán shī xiào de tóng shí， yòu duō me shēng dòng dì biǎo xiàn chū bān nà tè tài tài de fǎn fù wú cháng、 zì wǒ zhōng xīn。 zhè yàng de lì zǐ zài shū zhōng hái yòu hěn duō。 yī gè céng chōng mǎn piān jiàn de yī lì suō bái、 yī gè céng hún shēn 'ào màn de dá xī、 yī duì yòu qù de bān nà tè fū fù、 yī gè kě xiào de kē lín sī、 zhòng duō chū chángrén wù、 zài jiā shàng xǐ jù xiào guǒ hé tè shū xiě zuò jì qiǎo， zhè jiù shì《 ào màn yǔ piān jiàn》， què bù shì tā de quán bù。 ào sī tīng de yōu mò shì xū yào fǎn fù jǔjué de。
　　 ào màn yǔ piān jiàn [ xiǎo shuō ]- píng jià
　　
　　
　　1、 ào sī dīng zài zhè bù xiǎo shuō zhōng tōng guò bān nà tè wǔ gè nǚ 'ér duì dài zhōng shēn dà shì de bù tóng chǔlǐ， biǎo xiàn chū xiāng zhèn zhōng chǎn jiē jí jiā tíng chū shēn de shàonǚ duì hūn yīn 'ài qíng wèn tí de bù tóng tài dù， cóng 'ér fǎn yìng liǎo zuò zhě běn rén de hūn yīn guān： wèile cái chǎn、 jīn qián hé dì wèi 'ér jié hūn shì cuò wù de； ér jié hūn bù kǎo lǜ shàng shù yīn sù yě shì yú chǔn de。 yīn cǐ， tā jì fǎn duì wéi jīn qián 'ér jié hūn， yě fǎn duì bǎ hūn yīn dāng 'ér xì。 tā qiáng diào lǐ xiǎng hūn yīn de zhòng yào xìng， bìng bǎ nán nǚ shuāng fāng gǎn qíng zuò wéi dì jié lǐ xiǎng hūn yīn de jī shí。 shū zhōng de nǚ zhù rén gōng yī lì suō bái chū shēn yú xiǎo dì zhù jiā tíng， wéi fù háo zǐ dì dá xī suǒ rè 'ài。 dá xī bù gù mén dì hé cái fù de chā jù， xiàng tā qiú hūn， què zāo dào jù jué。 yī lì suō bái duì tā de wù huì hé piān jiàn shì yī gè yuán yīn， dàn zhù yào de shì tā tǎo yàn tā de 'ào màn。 yīn wéi dá xī de zhè zhǒng 'ào màn shí jì shàng shì dì wèi chā yì de fǎn yìng， zhǐ yào cún zài zhè zhǒng 'ào màn， tā yǔ yī lì suō bái zhī jiān jiù bù kě néng yòu gòng tóng de sī xiǎng gǎn qíng， yě bù kě néng yòu lǐ xiǎng de hūn yīn。 yǐ hòu yī lì suō bái qīn yǎn guān chá liǎo dá xī de wéi rén chǔshì hé yī xì liè suǒ zuò suǒ wéi， tè bié shì kàn dào tā gǎi biàn liǎo guò qù nà zhǒng jiāo 'ào zì fù de shén tài， xiāo chú liǎo duì tā de wù huì hé piān jiàn， cóng 'ér yǔ tā dì jié liǎo měi mǎn yīn yuán。 yī lì suō bái duì dá xī xiān hòu jǐ cì qiú hūn de bù tóng tài dù， shí jì shàng fǎn yìng liǎo nǚ xìng duì rén gé dú lì hé píng děng quán lì de zhuī qiú。 zhè shì yī lì suō bái zhè yī rén wù xíng xiàng de jìn bù yì yì。 zài《 ào màn yǔ piān jiàn》 zhōng， ào sī dīng hái xiě liǎo yī lì suō bái de jǐ gè jiě mèi hé nǚ yǒu de hūn shì， zhè xiē dōushì péi chèn， yòng lái yǔ nǚ zhù rén gōng lǐ xiǎng de hūn yīn xiāng duì zhào。 rú xià luò tè hé kē lín sī jìn guǎn hūn hòu guò zhe shū shì de wù zhì shēng huó， dàn tā men zhī jiān méi yòu 'ài qíng， zhè zhǒng hūn yīn shí jì shàng shì yǎn gài zài huá lì wài yī xià de shè huì bēi jù。 hái yòu tā de jiě jiě yě shì wán měi jié jú de。 bù guò tā men suǒ jīng lì de yuǎn yuǎn méi yòu yī lì suō bái hé dá xī zhè yàng cóng tǎo yàn wù huì dào xiāng 'ài de， yī kāi shǐ jiù xiāng 'ài， yòu diǎn xiàng yī jiàn zhōng qíng de wèi dào。 cóng 'ér kàn chū， jīng lì bō zhé de 'ài qíng cái shì wán měi shēn kè de。
　　 ào sī dīng de xiǎo shuō jìn guǎn tí cái bǐ jiào xiá zhǎi， gù shì xiāng dāng píng dàn， dàn shì tā shàn yú zài rì cháng píng fán shì wù zhōng sù zào xiān míng de rén wù xíng xiàng， bù lùn shì yī lì suō bái、 dá xī nà zhǒng zuò zhě rèn wéi zhí dé kěn dìng de rén wù， hái shì wēi kěn、 kē lín sī zhè lèi zāo dào fěng cì wā kǔ de duì xiàng， dū xiěde zhēn shí dòng rén。 tóng shí， ào sī dīng de yǔ yán shì jīng guò chuí liàn de， tā zài duì huà yì shù shàng jiǎng jiū yōu mò、 fěng cì， cháng yǐ fēng qù huī xié de yǔ yán lái hōng tuō rén wù de xìng gé tè zhēng。 zhè zhǒng yì shù chuàng xīn shǐ tā de zuò pǐn jù yòu zì jǐ de tè sè。
　　
　　2、 ài qíng shì xiǎo shuō yǒng héng de zhù tí，《 ào màn yǔ piān jiàn》 yǐ 'ài qíng hé hūn yīn wéi zhù yào nèi róng， zì rán shì xī yǐn dú zhě de。 dàn miáo xiě 'ài qíng de xiǎo shuō bù jì qí shù（ yán qíng xiǎo shuō sì hū jiù hěn duō chǎn）， yào xiàng《 ào màn yǔ piān jiàn》 zhè yàng zài shì jiè wén xué zhōng zhàn yòu yī xí zhī dì， yě bìng bù shì yī jiàn róng yì de shì。《 ào màn yǔ piān jiàn》 zhī suǒ yǐ chēng dé shàng shì jiè wén xué míng zhù 'ér bù liú sú yú yī bān 'ài qíng xiǎo shuō， zì yòu tā de mèi lì suǒ zài。 nà me dào dǐ shì shénme shǐ tā tuō yíng 'ér chū ní？ yī bù hǎo de xiǎo shuō， nèi róng、 qíng jié shì fēi cháng zhòng yào de。《 ào màn yǔ piān jiàn》 de nèi róng bìng bù fù zá， qíng jié què yǐn rén rù shèng。 dú guò běn shū de dú zhě yīnggāi duì xiǎo shuō kāi piān de yī jù huà jì yì yóu xīn：“ fán shì yòu cái chǎn de dān shēn hàn， bì dìng xū yào qǔ wèi tài tài， zhè yǐ jīng chéng liǎo yī tiáo jǔ shì gōng rèn de zhēn lǐ。 (Itisatrueuniversallyacknowledged,thatasinglemaninpossessionofagoodfortunemustbeinwantofawife.)” zài yīng wén zhōng inwantof shì zhǐ kè guān xū yào， ér bù shì zhù guān xiǎng yào； zhè jiǎn jiǎn dān dān de yī jù huà què shēn shēn fǎn yìng chū zī chǎn jiē jí hūn yīn de shí zhì wú fēi shì jīn qián jiāo yì yǔ lì yì de jié hé， kě jiàn zuò zhě de mù guāng zhī tòu chè xī lì， yě zhèng yìng zhèng liǎo qián miàn suǒ shuō de xì wēi zhī chù què néng fǎn yìng dà wèn tí。 xiǎo shuō kāi piān jiù zhè yàng láo láo zhuā zhù liǎo dú zhě， jiē zhe tōng guò bān nà tè fū fù fēng qù de duì huà， bǎ dú zhě dài jìn yī gè nǚ 'ér duō dé fā chóu de zhōng chǎn jiē jí jiā tíng zhōng。 zhè gè jiā tíng jiā dào yǐ jīng zhōng luò， què hái yòu 5 gè dài jià de nǚ 'ér， ér qiě bù xìng bān nà tè xiān shēng yòu méi yòu 'ér zǐ， qí cái chǎn jiāng yóu biǎo qīn kē lín sī jì chéng。 zài zī chǎn jiē jí shè huì， rú guǒ nǚ hái méi yòu fēng hòu de jià zhuāng， jiù shì zài yòu cái mào， yě nán zhǎo dào tǐ miàn de zhàng fū， jiù xiàng shū zhōng dá xī suǒ shuō：“ tā men cháng shǐ xiǎng jià gěi yòu dì wèi de nán rén， jī huì kě jiù dà dà jiǎn shǎo liǎo。” suǒ yǐ chù zài hūn yīn yào quán héng shuāng fāng jiē jí dì wèi hé jīn qián lì hài de qíng kuàng xià， zhè wǔ wèi gū niàn de chū jià qián jǐng què shí bù tài měi miào。 xiǎo shuō cǎi yòng gǔ diǎn de xiàn shí zhù yì bǐ fǎ， miáo xiě liǎo sì duì qīng nián nán nǚ de jié hé， tōng guò bān nà tè wǔ gè nǚ 'ér duì dài zhōng shēn dà shì de bù tóng chǔlǐ， biǎo xiàn chū xiāng zhèn zhōng chǎn jiē jí jiā tíng chū shēn de shàonǚ duì hūn yīn 'ài qíng wèn tí de bù tóng tài dù， yě jiè cǐ biǎo dá liǎo zuò zhě běn rén de hūn yīn guān， jí wéi cái chǎn dǎ suàn de hūn yīn shì méi yòu xìng fú de， jié hūn bù kǎo lǜ cái chǎn shì yú chǔn de， jiǎng jiū mén dì de bāo bàn hūn yīn bù kān rěn shòu， bǎ hūn yīn dāng 'ér xì háo bù zú qǔ， lǐ xiǎng de hūn yīn yào yǐ gǎn qíng wéi jī chǔ。 shū zhōng de nǚ zhù rén gōng yī lì suō bái yǔ dá xī bù gù mén dì hé cái fù de chā jù， zhēn xīn xiāng 'ài， měi mǎn jié hé， shì zuò zhě suǒ sòng yáng de xìng fú hūn yīn。 cóng yī lì suō bái de shēn shàng， wǒ men kě yǐ kàn dào nǚ xìng duì rén gé dú lì hé píng děng quán lì de zhuī qiú； zuò zhě suī rán méi yòu fǎn yìng chū tā nà gè shí dài de jiē jí máo dùn hé jiē jí dǒu zhēng， rán 'ér tā de qiáng liè de jiē jí yì shí què biǎo xiàn liǎo chū lái， duì jīng jì、 cái chǎn jué dìng hūn yīn guān xì nǎi zhì shēng huó mìng yùn de jiē lù yě kě wèi rù mù sān fēn。 xī fāng yòu wèi mǎ kè sī zhù yì pī píng jiā dà wèi dài kè sī céng bàn kāi wán xiào de shuō， zài“ jiē lù rén lèi xíng wéi de jīng jì yuán yīn” fāng miàn， ào sī tīng“ cóng mǒu zhǒng yì yì shàng kě yǐ shuō zài mǎ kè sī yǐ qián jiù shì mǎ kè sī zhù yì zhě liǎo。”

　　Pride and Prejudice is a novel by Jane Austen. First published in 1813, as her second novel, she started it in 1796 as her first persevering effort for publication. She finished the original manuscript by 1797 in Steventon, Hampshire, where she lived with her parents and siblings in the town rectory. Austen originally called the story First Impressions, but it was never published under that title; instead, she made extensive revisions to the manuscript, then retitled and eventually published it as Pride and Prejudice. In renaming the novel, Austen may have had in mind the final chapter of Fanny Burney's Cecilia, itself called "Pride and Prejudice" and where the phrase appears three times in block capitals. (She may also have been concerned that the original title might be confused with other works.)
　　
　　The story follows the main character Elizabeth Bennet as she deals with issues of manners, upbringing, moral rightness, education and marriage in her aristocratic society of early 19th century England. Elizabeth is the second eldest of five daughters of a country gentleman landed in the fictional town of Meryton in Hertfordshire, not far from London.
　　
　　Though the story's setting is uniquely turn of the 19th century, it retains a fascination for modern readers, continuing near the top of lists of 'most loved books' such as the Big Read. It still receives considerable attention from literary critics. This modern interest has resulted in a number of dramatic adaptations and an abundance of novels and stories imitating Austen's memorable characters or themes.
　　
　　To date, the book has sold some 20 million copies worldwide.
　　
　　Plot summary
　　
　　The novel revolves around the Bennet family. The five marriageable daughters and mother will be without a home and income once Mr. Bennet dies: The terms on which Mr. Bennet inherited Longbourn ("fee tail male," now abolished by statute in England) prohibit women from inheriting it, with the effect that instead one of Mr. Bennet's collateral relatives will inherit the estate. The mother worries about this predicament, and wishes to find husbands for them quickly. The father doesn't seem to be worried at all, and Elizabeth, the heroine, has decided to only marry for love, even though she has no real ideas about how she will survive financially. She is of the opinion that her sister Jane, being kind and beautiful, will find a wealthy husband, and that she can then live with her. As the novel opens, Mr Bingley, a wealthy young gentleman, rents a country estate near the Bennets called Netherfield. He arrives in town accompanied by his fashionable sisters and his good friend, Mr Darcy. While Bingley is well-received in the community, Darcy begins his acquaintance with smug condescension and proud distaste for all the 'country' people. Bingley and Elizabeth Bennet's older sister Jane begin to grow close. Elizabeth's best friend Charlotte advises that Jane should be more affectionate to Bingley, as they are both shy, and he may not know that she is indeed interested in him. Elizabeth disregards her friend's opinion, saying that Jane is shy and modest, and that if Bingley can't see how she feels, he is a fool. With that, she never even tells Jane what Charlotte advised. Elizabeth is stung by Darcy's haughty rejection of her at a local dance and decides to match his coldness with her own wit.
　　
　　At the same time Elizabeth begins a friendship with Mr Wickham, a militia officer who relates a prior acquaintance with Darcy. Wickham tells her that he has been seriously mistreated by Darcy. Elizabeth immediately seizes upon this information as another reason to hate Darcy. Ironically, but unbeknownst to her, Darcy finds himself gradually drawn to Elizabeth.
　　
　　Just as Bingley appears to be on the point of proposing marriage to Jane Bennet, he quits Netherfield, leaving Jane confused and upset. Elizabeth is convinced that Bingley's sister has conspired with Darcy to separate Jane and Bingley.
　　
　　Before Bingley leaves, Mr Collins, the male relative who is to inherit Longbourn, makes a sudden appearance and stays with the Bennets. He is a recently ordained clergyman employed by the wealthy and patronizing Lady Catherine de Bourgh. Though he was partially entreated to visit by his patroness, Collins has another reason for visiting: he wishes to find a wife from among the Bennet sisters. Mr Bennet and Elizabeth are amused by his self-important and pedantic behaviour. He immediately enters pursuit of Jane; however, when Mrs Bennet mentions her preoccupation with Mr Bingley, he turns to Elizabeth. He soon proposes marriage to Elizabeth, who refuses him, much to her mother's distress. Collins quickly recovers and proposes to Elizabeth's close friend, Charlotte Lucas, who immediately accepts him. Once the marriage is arranged, Charlotte asks Elizabeth to come for an extended visit.
　　
　　In the spring, Elizabeth joins Charlotte and her cousin at his parish in Kent. The parish is adjacent to Rosings Park, the grand manor of Mr Darcy's aunt, Lady Catherine de Bourgh, where Elizabeth is frequently invited. While calling on Lady Catherine, Mr Darcy encounters Elizabeth. She discovers from a cousin of Darcy that it was he who separated Bingley and Jane. Soon after, Darcy admits his love of Elizabeth and proposes to her. Insulted by his high-handed and insulting manner of proposing, Elizabeth refuses him. When he asks why she should refuse him, she confronts him with his sabotage of Bingley's relationship with Jane and Wickham's account of their dealings.
　　
　　Deeply shaken by Elizabeth's vehemence and accusations, Darcy writes her a letter justifying his actions. The letter reveals that Wickham soon dissipated his legacy-settlement (from Darcy's father's estate), then came back to Darcy requesting permanent patronage; and that he became angry when rejected, accusing Darcy of cheating him. To exact revenge and to make off with part of the Darcy family fortune, he attempted to seduce Darcy's young sister Georgiana—to gain her hand and fortune, almost persuading her to elope with him—before he was found out and stopped. Towards Bingley and Jane, Darcy justifies his actions from having observed that Jane did not show any reciprocal interest in his friend; thus his aim in separating them was mainly to protect Bingley from heartache.
　　
　　Darcy admits he was concerned about the disadvantageous connection with Elizabeth's family, especially her embarrassing mother and wild younger sisters. After reading the letter, Elizabeth begins to question both her family's behaviour and Wickham's credibility. She concludes that Wickham is not as trustworthy as his easy manners would indicate, that he had lied to her previously, and that her early impressions of Darcy might have been inaccurate. Soon after receiving the letter, Elizabeth returns home.
　　Elizabeth tells her father that Darcy was responsible for uniting Lydia and Wickham. This is one of the two earliest illustrations of Pride and Prejudice. The clothing styles reflect the time the illustration was engraved (the 1830s), not the time the novel was written or set.
　　
　　Some months later, during a tour of Derbyshire with her aunt and uncle, Elizabeth visits Pemberley, Darcy's estate. Darcy's housekeeper, an older woman who has known Darcy since childhood, presents Elizabeth and her relatives with a flattering and benevolent impression of his character. Unexpectedly, Darcy arrives at Pemberley as they tour its grounds. He makes an effort to be gracious and welcoming to them, thus strengthening Elizabeth's newly favourable impression of him. Darcy then introduces Elizabeth to his sister Georgiana. He treats her uncle and aunt very well, and finds them of a more sound character than her other relatives, whom he previously dismissed as socially inferior.
　　
　　Elizabeth and Darcy's renewed acquaintance is cut short when news arrives that Elizabeth's younger sister Lydia has run away with Wickham. Initially, the Bennets believe that Wickham and Lydia have eloped, but soon it is surmised that Wickham has no plans to marry Lydia. Lydia's antics threaten the family's reputation and the Bennet sisters with social ruin. Elizabeth and her aunt and uncle hurriedly leave Derbyshire, and Elizabeth is convinced that Darcy will avoid her from now on.
　　
　　Soon, thanks to the intervention of Elizabeth's uncle, Lydia and Wickham are found and married. After the marriage, Wickham and Lydia make a visit to Longbourn. While bragging to Elizabeth, Lydia comments that Darcy was present at the wedding. Surprised, Elizabeth sends an inquiry to her aunt, from whom she discovers that Darcy was responsible for both finding the couple and arranging their marriage at great expense to himself.
　　
　　Soon after, Bingley and Darcy return to the area. Bingley proposes marriage to Jane, and this news starts rumors that Darcy will propose to Elizabeth. Lady Catherine travels to Longbourn with the sole aim of confronting Elizabeth and demanding that she never accept such a proposal. Elizabeth refuses to bow to Lady Catherine's demands. When news of this obstinance reaches Darcy, it convinces him that her opinion of him has changed. When he visits, he once again proposes marriage. Elizabeth accepts, and the two become engaged.
　　
　　The final chapters of the book establish the future of the characters. Elizabeth and Darcy settle at Pemberley where Mr Bennet visits often. Mrs Bennet remains frivolous and silly; she often visits the new Mrs Bingley and talks of the new Mrs Darcy. Later, Jane and Bingley move from Netherfield to avoid Jane's mother and Meryton relations and to locate near the Darcys in Derbyshire. Elizabeth and Jane manage to teach Kitty greater social grace, and Mary learns to accept the difference between herself and her sisters' beauty and mixes more with the outside world. Lydia and Wickham continue to move often, leaving their debts for Jane and Elizabeth to pay off. At Pemberley, Elizabeth and Georgiana grow close, though Georgiana is surprised by Elizabeth's playful treatment of Darcy. Lady Catherine stays very angry with her nephew's marriage but over time the relationship between the two is repaired and she eventually decides to visit them. Elizabeth and Darcy also remain close with her uncle and aunt.
　　Main characters
　　[show]Character genealogy
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　 Mr Hurst
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　 Mrs Hurst
　　
　　
　　
　　
　　
　　
　　 Mr Philips
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　 Caroline Bingley
　　
　　
　　
　　
　　
　　
　　 Mrs Philips
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　 Mr Charles Bingley
　　
　　
　　
　　
　　
　　
　　 Mrs Gardiner
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　 Jane Bennet
　　
　　
　　
　　
　　
　　
　　
　　
　　 Mr Gardiner
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　 Elizabeth Bennet
　　
　　
　　
　　
　　
　　
　　 Mrs Bennet
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　 Mary Bennet
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　 Mr Bennet
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　 Catherine "Kitty" Bennet
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　 Mr William Collins
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　 Lydia Bennet
　　
　　
　　
　　
　　
　　
　　
　　 Charlotte Lucas
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　 Mr George Wickham
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　 (Old) Mr Darcy
　　
　　
　　
　　 Mr Fitzwilliam Darcy
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　 Lady Anne Darcy
　　
　　
　　
　　 Georgiana Darcy
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　 Lady Catherine De Bourgh
　　
　　 Anne De Bourgh
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　 Lord ——
　　
　　 Colonel Fitzwilliam
　　
　　
　　
　　
　　
　　
　　
　　
　　
　　 * Elizabeth Bennet is the main character and protagonist. The reader sees the unfolding plot and the other characters mostly from her viewpoint. The second of the Bennet daughters at twenty years old, she is intelligent, lively, attractive, and witty, but with a tendency to judge on first impressions and perhaps to be a little selective of the evidence upon which she bases her judgments. As the plot begins, her closest relationships are with her father, her sister Jane, her aunt Mrs Gardiner, and her best friend Charlotte Lucas.
　　
　　 * Mr Fitzwilliam Darcy is the main male character. Twenty-eight years old and unmarried, Darcy is the wealthy owner of the famous family estate of Pemberley in Derbyshire. Handsome, tall, and intelligent, but not convivial, his aloof decorum and moral rectitude are seen by many as an excessive pride and concern for social status. He makes a poor impression on strangers, such as the gentry of Meryton, but is valued by those who know him well.
　　
　　 * Mr Bennet has a wife and five daughters, and seems to have inurred himself to his fate. A bookish and intelligent gentleman somewhat withdrawn from society, he dislikes the indecorous behaviours of his wife and three younger daughters; but he offers little beyond mockery by way of correcting them. Rather than guiding these daughters to more sensible understanding, he is instead content to laugh at them. He relates very well with his two elder daughters, Jane and Elizabeth, showing them much more love and respect than his wife and younger daughters.
　　
　　 * Mrs Bennet is the wife of her social superior Mr Bennet, and mother of Elizabeth and her sisters. She is frivolous, excitable, and narrow-minded. She is susceptible to attacks of tremors and palpitations; her public manners and social climbing are embarrassing to Jane and Elizabeth. Her favourite daughter is the youngest, Lydia.
　　
　　Lady Catherine confronts Elizabeth about Darcy, on the title page of the first illustrated edition. This is the other of the first two illustrations of the novel.
　　
　　 * Jane Bennet is the eldest Bennet sister. Twenty-two years old when the novel begins, she is considered the most beautiful young lady in the neighbourhood. Her character is contrasted with Elizabeth's as sweeter, shyer, and equally sensible, but not as clever; her most notable trait is a desire to see only the good in others. Jane is closest to Elizabeth, and her character is often contrasted with that of Elizabeth.
　　
　　 * Mary Bennet is the only plain Bennet sister, and rather than join in some of the family activities, she reads, although is often impatient for display. She works hard for knowledge and accomplishment, but has neither genius nor taste. At the ball at Netherfield, she embarrasses her family by singing badly.
　　
　　 * Catherine "Kitty" Bennet is the fourth Bennet sister, aged seventeen. She is portrayed as a less headstrong but equally silly shadow of Lydia.
　　
　　 * Lydia Bennet is the youngest Bennet sister, aged fifteen. She is repeatedly described as frivolous and headstrong. Her main activity in life is socialising, especially flirting with the military officers stationed in the nearby town of Meryton. She dominates her older sister Kitty and is supported in the family by her mother. After she elopes with Wickham and he is paid to marry her, she shows no remorse for the embarrassment that her actions caused for her family, but acts as if she has made a wonderful match of which her sisters should be jealous.
　　
　　 * Charles Bingley is a young gentleman without an estate. His wealth was recent, and he is seeking a permanent home. He rents the Netherfield estate near Longbourn when the novel opens. Twenty-two years old at the start of the novel, handsome, good-natured, and wealthy, he is contrasted with his friend Darcy as being less intelligent but kinder and more charming, and hence more popular in Meryton. He lacks resolve and is easily influenced by others.
　　
　　 * Caroline Bingley is the snobbish sister of Charles Bingley. Clearly harbouring romantic intentions on Darcy herself, she views his growing attachment to Elizabeth Bennet with some jealousy, resulting in disdain and frequent verbal attempts to undermine Elizabeth and her society.
　　
　　 * George Wickham is an old acquaintance of Darcy from childhood, and an officer in the militia unit stationed near Meryton. Superficially charming, he rapidly forms a friendship with Elizabeth Bennet, prompting remarks upon his suitability as a potential husband. He spreads numerous tales about the wrongs Darcy has done to him, colouring the popular perception of the other man in local society. It is eventually revealed that these tales are distortions, and that Darcy was the wronged man in their acquaintance.
　　
　　 * William Collins, aged twenty-five, is Mr Bennet's clergyman cousin and, as Mr Bennet has no son, heir to his estate. Austen described him as "not a sensible man, and the deficiency of nature had been but little assisted by education or society." Collins boasts of his acquaintance with — and advantageous patronage from — Lady Catherine de Bourgh. Mr Bennet, Jane, and Elizabeth consider him pompous and lacking in common sense. Elizabeth's rejection of Collins' marriage proposal is welcomed by her father, regardless of the financial benefit to the family of such a match. Elizabeth is later somewhat distressed — although understanding — when her closest friend, Charlotte Lucas, consents to marry Collins out of her need for a settled position and to avoid the low status and lack of autonomy of an old maid.
　　
　　 * Lady Catherine de Bourgh, who has wealth and social standing, is haughty, domineering and condescending. Mr Collins, among others, enables these characteristics by deferring to her opinions and desires. Elizabeth, however, is duly respectful but not intimidated. Darcy, whilst respectful of their shared family connection, is offended by her lack of manners, especially towards Elizabeth, and later — when pressed by her demand that he not marry Elizabeth — is quick to assert his intentions to marry whom he wishes.
　　
　　 * Mr Gardiner is Mrs Bennet's brother, and a businessman. He is quite sensible and gentleman-like. He tries to help Lydia when she elopes with Wickham. His wife has close relationships with Elizabeth and Jane. Jane stays with the Gardiners in London for a while, and Elizabeth travels with them to Derbyshire, where she again meets Darcy.
　　
　　 * Georgiana Darcy is Mr Darcy's quiet and amiable younger sister, aged sixteen when the story begins. In a letter from Mr Darcy to Elizabeth, he describes that Wickham tried to persuade her to elope with him and inherit her 30,000 pounds. Later on, Elizabeth meets her at their home at Pemberly, where she is amiable and sweet. She is very happy with her brother's choosing of Elizabeth and maintains an extremely close relationship to both of them.
　　
　　Interrelationships
　　A comprehensive web showing the relationships between the main characters in Pride and Prejudice
　　
　　
　　Major themes
　　
　　Many critics take the novel's title as a starting point when analysing the major themes of Pride and Prejudice; however, Robert Fox cautions against reading too much into the title since commercial factors may have played a role in its selection. "After the success of Sense and Sensibility, nothing would have seemed more natural than to bring out another novel of the same author using again the formula of antithesis and alliteration for the title. It should be pointed out that the qualities of the title are not exclusively assigned to one or the other of the protagonists; both Elizabeth and Darcy display pride and prejudice."
　　
　　A major theme in much of Austen's work is the importance of environment and upbringing on the development of young people's character and morality. Social standing and wealth are not necessarily advantages in her world, and a further theme common to Jane Austen's work is ineffectual parents. In Pride and Prejudice, the failure of Mr and Mrs Bennet (particularly the latter) as parents is blamed for Lydia's lack of moral judgment; Darcy, on the other hand, has been taught to be principled and scrupulously honourable, but is also proud and overbearing. Kitty, rescued from Lydia's bad influence and spending more time with her older sisters after they marry, is said to improve greatly in their superior society.
　　Style
　　
　　Pride and Prejudice, like most of Jane Austen's works, employs the narrative technique of free indirect speech. This has been defined as "the free representation of a character's speech, by which one means, not words actually spoken by a character, but the words that typify the character's thoughts, or the way the character would think or speak, if she thought or spoke". By using narrative which adopts the tone and vocabulary of a particular character (in this case, that of Elizabeth), Austen invites the reader to follow events from Elizabeth's viewpoint, sharing her prejudices and misapprehensions. "The learning curve, while undergone by both protagonists, is disclosed to us solely through Elizabeth's point of view and her free indirect speech is essential ... for it is through it that we remain caught, if not stuck, within Elizabeth's misprisions."
　　Publication history
　　Modern paperback editions of Pride and Prejudice
　　
　　The novel was originally titled First Impressions by Jane Austen, and was written between October 1796 and August 1797. On 1 November 1797 Austen's father gave the draft to London bookseller Thomas Cadell in hopes of it being published, but it was rejected. The unpublished manuscript was returned to Austen and it stayed with her.
　　
　　Austen made significant revisions to the manuscript for First Impressions between 1811 and 1812. She later renamed the story Pride and Prejudice. In renaming the novel, Austen probably had in mind the "sufferings and oppositions" summarized in the final chapter of Fanny Burney's Cecilia, called "Pride and Prejudice", where the phrase appears three times in block capitals. It is possible that the novel's original title was altered to avoid confusion with other works. In the years between the completion of First Impressions and its revision into Pride and Prejudice, two other works had been published under that name: a novel by Margaret Holford and a comedy by Horace Smith.
　　
　　Austen sold the copyright for the novel to Thomas Egerton of Whitehall in exchange for £110 (Austen had asked for £150). This proved a costly decision. Austen had published Sense and Sensibility on a commission basis, whereby she indemnified the publisher against any losses and received any profits, less costs and the publisher's commission. Unaware that Sense and Sensibility would sell out its edition, making her £140, she passed the copyright to Egerton for a one-off payment, meaning that all the risk (and all the profits) would be his. Jan Fergus has calculated that Egerton subsequently made around £450 from just the first two editions of the book.
　　
　　Egerton published the first edition of Pride and Prejudice in three hardcover volumes in January 1813, priced at 18s. Favourable reviews saw this edition sold out, with a second edition published in November that year. A third edition was published in 1817.
　　
　　Foreign language translations first appeared in 1813 in French; subsequent translations were published in German, Danish and Swedish. Pride and Prejudice was first published in the United States in August 1832 as Elizabeth Bennet or, Pride and Prejudice. The novel was also included in Richard Bentley's Standard Novel series in 1833. R. W. Chapman's scholarly edition of Pride and Prejudice, first published in 1923, has become the standard edition from which many modern publications of the novel are based.
　　Reception
　　
　　The novel was well received, with three favourable reviews in the first months following publication. Jan Fergus calls it "her most popular novel, both with the public and with her family and friends", and quotes David Gilson's A Bibliography of Jane Austen (Clarendon, 1982), where it is stated that Pride and Prejudice was referred to as "the fashionable novel" by Anne Isabella Milbanke, later to be the wife of Lord Byron. However, others did not agree. Charlotte Brontë wrote to noted critic and reviewer George Henry Lewes after reading a review of his published in Fraser's Magazine in 1847. He had praised Jane Austen's work and declared that he, "... would rather have written Pride and Prejudice, or Tom Jones, than any of the Waverley Novels". Miss Brontë, though, found Pride and Prejudice a disappointment, "... a carefully fenced, highly cultivated garden, with neat borders and delicate flowers; but ... no open country, no fresh air, no blue hill, no bonny beck."
　　Modern popularity
　　
　　 * In 2003 the BBC conducted the largest ever poll for the "UK's Best-Loved Book" in which Pride and Prejudice came second, behind The Lord of the Rings.
　　 * In a 2008 survey of more than 15,000 Australian readers, Pride and Prejudice came first in a list of the 101 best books ever written.
　　
　　Adaptations
　　Film, television, and theatre
　　
　　Pride and Prejudice has engendered numerous adaptations. Some of the notable film versions include that of 1940 starring Greer Garson and Laurence Olivier, that of 2003 starring Kam Heskin and Orlando Seale (which placed the characters of Pride and Prejudice in a Mormon university, and was directed by Andrew Black and that of 2005 starring Keira Knightley (in an Oscar-nominated performance) and Matthew Macfadyen. Notable television versions include two by the BBC: the 1995 version starring Jennifer Ehle and Colin Firth, and a 1980 version starring Elizabeth Garvie and David Rintoul. A 1936 stage version was created by Helen Jerome played at the St. James's Theatre in London, starring Celia Johnson and Hugh Williams. First Impressions was a 1959 Broadway musical version starring Polly Bergen, Farley Granger, and Hermione Gingold. In 1995, a musical concept album was written by Bernard J. Taylor, with Peter Karrie in the role of Mr Darcy and Claire Moore in the role of Elizabeth Bennet. A new stage production, Jane Austen's Pride and Prejudice, The New Musical, was presented in concert on 21 October 2008 in Rochester, New York with Colin Donnell as Darcy. The popular film Bridget Jones's Diary is a contemporary retelling, starring Renee Zellweger as a modern day Elizabeth, and Colin Firth, once again, as Mr Darcy.
　　
　　Bride and Prejudice, starring Aishwarya Rai, is a Bollywood adaptation of the novel, while Pride & Prejudice: A Latter-Day Comedy (2003) places the novel in contemporary times. The off-Broadway musical I Love You Because reverses the gender of the main roles, set in modern day New York City. The Japanese comic Hana Yori Dango by Yoko Kamio, in which the wealthy, arrogant and proud protagonist, Doumyouji Tsukasa, falls in love with a poor, lower-class girl named Makino Tsukushi, is loosely based on Pride and Prejudice. A 2008 Israeli television six-part miniseries set the story in the Galilee with Mr Darcy a well-paid worker in the high-tech industry.
　　
　　Pride and Prejudice has also crossed into the science fiction and horror genres. In the 1997 episode of science fiction comedy Red Dwarf entitled "Beyond a Joke", the crew of the space ship relax in a virtual reality rendition of "Pride and Prejudice Land" in "Jane Austen World". The central premise of the television miniseries Lost in Austen is a modern woman suddenly swapping lives with that of Elizabeth Bennet. In February 2009, it was announced that Elton John's Rocket Pictures production company was making a film, Pride and Predator, based on the story, but with the added twist of an alien landing in Longbourne.
　　Literature
　　
　　The novel has inspired a number of other works that are not direct adaptations. Books inspired by Pride and Prejudice include: Mr. Darcy's Daughters and The Exploits and Adventures of Miss Alethea Darcy by Elizabeth Aston; Pemberley: Or Pride and Prejudice Continued and An Unequal Marriage: Or Pride and Prejudice Twenty Years Later by Emma Tennant; The Book of Ruth (ASIN B00262ZRBM) by Helen Baker; Jane Austen Ruined My Life and Mr. Darcy Broke My Heart by Beth Pattillo; Precipitation - A Continuation of Miss Jane Austen's Pride and Prejudice by Helen Baker; Searching for Pemberley by Mary Simonsen and Mr. Darcy Takes a Wife and its sequel Darcy & Elizabeth: Nights and Days at Pemberly by Linda Berdoll. In Gwyn Cready's comedic romance novel, Seducing Mr. Darcy, the heroine lands in Pride and Prejudice by way of magic massage, has a fling with Darcy and unknowingly changes the rest of the story. Bridget Jones's Diary by Helen Fielding, which started as a newspaper column before becoming a novel and a film, was inspired by the then-current BBC adaptation; both works share a Mr. Darcy of serious disposition (both played by Colin Firth), a foolish match-making mother, and a detached affectionate father, as well as the protagonist overhearing Mr. Darcy speaking about her disparagingly, followed by the caddish character gaining the protagonist's affections by telling lies about Mr. Darcy. The self-referential in-jokes continue with the sequel, Bridget Jones: The Edge of Reason.
　　
　　In March 2009, Quirk Books released Pride and Prejudice and Zombies, which takes Austen's actual, original work, and laces it with zombie hordes, cannibalism, ninjas, and ultra-violent mayhem. Scheduled for publication in March 2010, Quirk Books has announced that it will produce a prequel which deals with Elizabeth Bennett's early days as a zombie hunter, entitled Pride and Prejudice and Zombies: Dawn of the Dreadfuls.
　　
　　Yet another angle was introduced by Monica Fairview, who wrote about Miss Caroline Bingley in The Other Mr Darcy, published in October 2009. Pride and Prejudice has also inspired many scholarly articles and books including: So Odd a Mixture: Along the Autism Spectrum in 'Pride and Prejudice' by Phyllis Ferguson Bottomer, Forewords by Eileen Sutherland and Tony Attwood.
　　
　　Marvel has also published their take on this classic, releasing a short comic series of five issues that stays true to the original storyline. The first issue was published on 1 April 2009 and was written by Nancy Hajeski.
　　
　　Author Amanda Grange wrote Mr. Darcy's Diary in 2007 that tells the original story of Pride and Prejudice from the view of Mr Darcy. In 2009, she wrote Mr. Darcy, Vampyre which reimagines Darcy as a vampire after he has married Elizabeth. Following the same premise is Regina Jeffers' "Vampire Darcy's Desire", which retells Pride and Prejudice on the basis that Darcy is a dhampir (part-human, part-vampire) joined by his lover Elizabeth to fight the evil vampire George Wickham.