学年论文《傲慢与偏见中的写作风格》Word下载.docx

学年论文《傲慢与偏见中的写作风格》Word下载.docx

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内容摘要

《傲慢与偏见》（PrideandPrejudice,1813）是英国著名女作家简·

奥斯丁（JaneAusten,1775-1817）的代表作。

这部作品不仅是英国文苑的奇葩，也是世界文库的珍品。

作品以女性特有的细致入微的观察力，真实地描绘了作者周围的小天地，尤其是绅士淑女间的爱情和婚姻风波。

本文旨在通过分析《傲慢与偏见》中以对话为框架的写作手段、通过书信展开故事的写作进程以及基于反讽的写作基调来研究简·

奥斯丁的整体写作风格。

小说主要通过对话的形式，使不同的人物形象跃然纸上。

同时，书信在整个小说中起到了非常重要的作用，它使得故事不断向前发展。

此外，反讽手法是整部作品的又一大亮点，它使得整部作品读起来妙趣横生，同时也借以讽刺了当时的英国社会。

关键词

对话；

人物；

书信；

反讽

CONTENTS

1Introduction1

2WritingApproachBasedonDialogues2

2.1DialoguesBetweenMr.andMrs.Bennet:

WisdomVersusFatuity3

2.2DialoguesBetweenDarcyandElizabeth:

PrideandPrejudice4

3Writing’sCourseUnfoldedThroughLetters6

3.1RevelationofCharacters'

Personalities6

3.2CompositionofaCompletePlot8

3.3IntroductionofSuddenOccurrences10

4Writing’sKeynoteFoundedonIrony11

4.1RevealingtheHypocrisyofBritishUpperClass12

4.2ShowingtheRidiculousnessofLittleMinds13

4.3ReflectingtheAbsenceofFemaleEducation15

5Conclusion16

References18

JaneAustin’sWritingStyleinPrideandPrejudice

1Introduction

PrideandPrejudice（1813）iswrittenbyBritishfemalewriterJaneAustenwhoearnedheraplaceasoneofthemostwidelyreadwritersinEnglishliterature.Herrealismandbitingsocialcommentaryhavegainedherhistoricalimportanceamongscholarsandcritics.

Austenlivedherentirelifeaspartofaclose-knitfamilylocatedonthelowerfringesoftheEnglish 

landedgentry. 

Shewaseducatedprimarilybyherfatherandolderbrothersaswellasthroughherownreading.Thesteadfastsupportofherfamilywascriticaltoherdevelopmentasaprofessionalwriter. 

Herartisticapprenticeshiplastedfromherteenageyearsintoherthirties.Duringthisperiod,sheexperimentedwithvariousliteraryforms,includingthe 

epistolarynovels 

whichshethenabandoned,andwroteandextensivelyrevisedthreemajornovelsandbeganafourth. 

From1811until1816,withthereleaseof 

SenseandSensibility 

（1811）, 

PrideandPrejudice 

（1813）, 

MansfieldPark 

（1814）and 

Emma 

（1816）,sheachievedsuccessasapublishedwriter.Shewrotetwoadditionalnovels, 

NorthangerAbbey 

and 

Persuasion,bothpublishedposthumouslyin1818,andbeganathird,whichwaseventuallytitled 

Sanditon,butdiedbeforecompletingit.

Austen'

sworkscritiquethe 

sensibility 

ofthesecondhalfofthe18thcenturyandtheyarepartofthetransitionto19th-centuryrealism. 

Theplotsinhernovelshighlightwomen’sdependenceonmarriagewhichhelpssecuretheirsocialstanding. 

Herworksbroughtherlittlerecognitionduringherlifetime,butthepublicationin1869ofhernephew'

s 

AMemoirofJaneAusten 

introducedhertoawiderpublic,andbythe1940sshehadbecomewidelyacceptedinacademiaasagreatEnglishwriter.Thesecondhalfofthe20thcenturysawaproliferationofAustenscholarshipandtheemergenceofa 

Janeite 

fanculture.

PrideandPrejudice,likemostofJaneAusten'

sworks,employsherexperimentalnarrativetechniquessuchasdramaticinterplay,nuancesoftone,revelatorydialogueandthecompellingdesignofthisnovelfromwhichwecandiscoverhermainconcerns. 

Itisherwritingstylethatimpressednumerousreaders. 

Austenneverfocusedonsceneryorstagesettinginhernovels.Shelaidoutthebasicsandallowedtheresultingdialoguetoexplainthedetailsinanaturalmanner.

ThisthesisdiscussesJaneAusten’swritingstylethroughanalyzingherwritingapproach,writing’scourseandwriting’skeynoteinPrideandPrejudice.Itisdividedintothreeparts.Thefirstpartinvolveswriting’sapproachbasedondialoguesinwhichtheimagesofdifferentcharactersarepresentedinlargeamountsofdialogues.Besides,writing’scourseunfoldedthroughlettersisdiscussedinthesecondpartinwhichmulti-functionsoflettersarestudied.Inaddition,irony,thehighlightofthewholenovelwhichmakesthisworkfullofhumorandwit,inasense,disclosesthehypocrisyofbourgeoisandthecankerofsocietyinthenineteenthcenturyinBritainwhichisdiscussedinthethirdpart.Onaccountoftheuniquewritingapproach,writing’scourseunfoldedthroughlettersandtheuseofironyrunningthroughthewholestory,JaneAusten’sdistinctivewritingstylemadeherstandoutinBritishliterature.

2WritingApproachBasedonDialogues

Dialogueisnotonlyanimportantpartofthebookbutalsoisamethodforperformingpersonalitiesofdifferentcharacters.Thedialoguevariesfrompersontopersondisplayingdistinctpersonalities.AsthesayinggoesinEnglish:

“Thestyleistheman."

Thatistoputthattheidentityandpersonalityofthespeakerwillberevealedwhenthespeakerstartsaword.Lydiahasamouthfulofslangssuchas“alittlesea-bathingwouldsetmeupforever.”（setup:

[informal]makehealtier,stronger,morelively,etc.）Thesewordsoftenblurtout,reflectingherlackofeducation.Onthecontrary,Darcyoftenquibblesoverthingsinconversation.Forexample,“Icannotcomprehendtheneglectofafamilylibraryinsuchdaysasthese.”（29）ThissentenceimpliesbetweenthelineshisnoblebirthandupbringingshowingDarcy’scomplacence.Differentpersonalaritiesthroughdialoguesaredisclosed.

WisdomVersusFatuity

Thefirstdialogueofthisnoveloutlinestwoopposingpersonalitiesandfullyembodiestheartisticintentionoftheauthor.Atthebeginning,Mrs.BennetisextremelyanxioustotellMr.BennettheupcomingmasterofNetherfield,while,thelatteraskscoldly:

“Whatishisname?

”

“Bingley.”

“Ishemarriedorsingle?

“Oh,single,mydear,tobesure!

Asinglemanoflargefortune;

fourorfivethouandayear.Whatafinethingforourgirls!

“Howso?

Howcanitaffectthem!

“MydearMr.Bennet,”repliedhiswife,“howcanyoubesotiresome?

YoumustknowthatIamthinkingofhismarryingoneofthem.”

“Isthathisdesigninsettlinghere?

“Design?

Nonsense,howcanyoutalkso!

…”（2-3）

ItisnotdifficulttoseefromthisconversationthedifferencesinpersonalitiesbetweenMr.BennetandMrs.Bennet.Mrs.BennetseesBingley'

sarrivalasherdaughters’Gospel,wantingtotellherhusbandhermoodandintension.However,Mr.Bennet'

sreactionisverycoldbecausethatheseesthroughthemindofhiswifeandpretendsnottounderstand.Mrs.Bennet’srhetoricalpassionisreflectedinherseriesofexclamatorysentencesandalmostallhersentencesareexclamatorysentences.Mr.Bennet’slukewarmmockeryisreflectedinhischainofquestions.HepretendsnottocomprehendthelinkbetweenBingley’sarrivalandhisdaughters’marriagewithaslightlyirreverenttone."

Howcanyoubesotiresome?

"

showsMrs.Bennet’sangerwithherhusbandandcomplaintaboutMr.Bennet."

Isthathisdesigninsettlinghere?

obviouslyisattachedwithironictone."

Design?

..."

explainsthatthestupidandshallowwomanfinallyfeelsthemockeryfromherhusbandandappearsirritated.Soasthis,thedifferentimagesofMr.BennetandMrs.Bennetslideintoeyesofreaders:

Mr.Bennetisamixtureofquickpartsandsarcastichumour,while,Mrs.Bennetisawomanofmeanunderstandingandlittleinformation.

PrideandPrejudice

Themostdramaticdialoguesoccurbetweentwoprotagonists.Afterthefirstmeeting,DarcyhasacrushonElizabeth.However,Elizabethisprejudicedagainsthim.Onaccountofthis,thedialoguebetweenthemispermeatedwiththeatmosphereofmisunderstandingandtension.Basedondialogues,thecontrastincharacterispresenteddistinctly.

“Doyoufeelagreatinclination,MissBennet,toseizesuchanopportunityofdancingareel?

“Oh,saidshe,“Iheardyoubefore;

butIcouldnotimmediatelydeterminewhattosayinreply.Youwantedme,Iknow,tosay“yes”thatyoumighthavethepleasureofdespisingmytaste,butIalwaysdelightinoverthrowingthosekindofschemes,andcheatingapersonoftheirpremeditatedcontempt.IhavethereforemadeupmymindtotellyouthatIdonotwanttodanceareelatall-anddespisemeifyoudare.”

“Indeed,Idonotdare.”（45-46）

DarcyinvitesElizabethtodance.ThisisanactionwhichshowsthatDarcywantstotaketheinitiativetogetclosetoElizabeth.Nevertheless,thestyleofDarcyisnotquiteinplace.Thisisconsistentwithhisprideincharacter.Firstly,theword"

reel"

maybeoffensive.Inthe18thcentury,"

akindofdancefromthecountrysideinScotlandisnotacceptedbythosegracefulladiesinLondon.Darcy’sinvitationlikethisislikelytomakeElizabeththinkthatDarcyregardsherasacountrygirl,sneeringherinterestwithoutenoughelegance（despisingmytaste）.Secondly,“greatinclination”alsoisoffensive.ThisphrasesuggeststhatElizabethislackingineleganceanddignity.Thirdly,"

seizesuchanopp