What is good about Pride and Prejudice?

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There is a different interpretation of a work “what is good”: or a serious exploration of what works well, or rather a simple negation, that is, nothing good. Both arguments are to ask where is good.

What I want to talk about here is a novel from the early 19th century in Britain, Pride and Prejudice. The author, Jane Austen, is a family that cannot be ignored in the history of Western novels, and has received more and more attention in recent years.

Her readers are interested in studying what works for her work; people who can’t appreciate her often have to ask her what works.

“Pride and Prejudice” knows more people in my country; I have read the original translation of the original text, have read the film adapted from the novel without reading the translation, and at least know a story.

This article is to borrow a Western novel that is familiar to domestic readers, explore some methods, and try to taste or identify a novel.

There is always a story in the novel, even if it is a story that is unfinished or unreasonable. The story is always compiled by the author.

How to make up – for example, what subject to choose, from what angle, what to rewrite, what to express thoughts and feelings, how to deal with the subject matter, that is, how to layout, how to shape characters, etc., can only understand from the whole novel Light can’t be figured out from a story.

This story is again expressed in words. The skill of expression also depends on the text itself and cannot be sought from the story. To fully understand a novel, we must analyze it from the above aspects.


There is often a story in the novel. When and where someone has been (or did not suffer) something, did (or did not do) what happened – the characters, the background, the plot to form a story.

The story is the skeleton of a novel or the minimum basic component, and the “the greatest common denominator” shared by all novels.

If the plot of the story is intriguing and the characters are moving, you can grasp the reader’s interest, catch their hearts, make them unable to let go, can’t open, and urgently know how things develop and how the characters will end.

Many people read a novel just by reading a story—or, read-only to a story.

The story of Pride and Prejudice tells about the love and marriage of several daughters of a country in a township in the late 18th and early 19th centuries.

Mainly speaking, the second daughter, Elizabeth, had a deep prejudice against him because of the arrogance of the young gentleman Darcy. Later, she released her prejudice and fell in love with Darcy.

This story is unremarkable, and there are no scenes that are resounding and shocking.

The plot is nothing more than trivial, such as the exchanges between neighbors, tea, banquets, dances, or driving to visit places of interest, or to live in London, or to visit relatives and friends, etc., are the daily life of the leisure class in the town.

There are no heroes or models to admire. They are people who are seen everyday. Some are smart, elegant, and some are stupid and vulgar. They are nothing but the gentleman, lady, and lady of the leisure class.

An African boy read this book and thought for himself: “What do these British ladies, Miss, have to do with me?”

We cannot help but ask: What value can the love story of foreign bourgeoisie in the 19th century have in us today?

But we can’t just judge the novel by the story in the novel.

The story is just the main plot that can be described in the novel. The story does not talk about the author’s mind.

But the author cannot reflect the reality objectively and objectively, nor can he completely conceal himself in his works. His mind will be like a chord, and it will be revealed everywhere in the work.

What kind of story to write, what kind of subject matter to choose. Pride and Prejudice is a real novel (novel) rather than a legendary novel (romance). These two are different types.

The realistic novel inherits the true records of letters, diaries, biographies, and history, and focuses on realism.

The legendary novel inherits epic and medieval legends and writes amazing things.

There is nothing in the world, as long as it is reasonable and reasonable, you don’t have to be used to it. W. Scott writes a legendary novel, and Austin writes a real novel.

Austin himself said that he couldn’t write a legendary novel, unless he had to live his life, and he had no choice but to be afraid of writing a chapter.

Why? In her novel “Nuo Sangjue Temple”, she deliberately imitated the mood of a gothic romance.

From this we can see that the amazing story of her laughter can’t be separated from the old one, and the characters can’t help but exaggerate. In her letter at home, she said that the perfect actress in the novel looked disgusting, and she couldn’t help but be naughty.

Her letter to guide prostitutes has repeatedly emphasized that characters should be written naturally, avoiding distortion and creating illusions. She likes to put the background of the story in the towns and villages with three or four big families.

Austin is not an old girl who is occluded. She read and read newspapers, and is familiar with contemporary famous works. There are many relatives who come and go, and there are also connections with people who see the world. They are not ignorant of world events and urban life.

However, her novels one after another are almost drawn from the townships with three or four big families. It seems that she has the same opinion as Elizabeth in Pride and Prejudice.

People in towns and villages can be observed and studied in the same way as people in big cities; whether they are pure or deep, they are interesting subjects, especially the latter.

Although the place is small and there are not many people, the appearance of each person has changed a lot, and the aspects that are not observed will endless. Austin apparently deliberately chose ordinary subjects to create realistic novels.

Pride and prejudice are often called love stories.

In fact, the novel rewrites the young men and women who choose their spouses and get married. It can be seen from Austen’s novel that she never leaves marriage and writes love.

A man does not have the conditions to marry or has the sincerity to marry and is in love with a woman. It is irresponsible or playing with a woman.

A woman does not see the man’s sincerity in suggesting marriage and reveals her love. It is a point of misconduct and even loss of identity. Although she is in love with a person, she must be deeply restrained.

Love is for marriage, marriage is a family, you must consider the social status and economic foundation of both parties. The portal is not quite accommodating, but the economic base cannot be ignored. Because the children of the homesick family can’t support themselves, the occupations that can be done are limited.

The eldest son inherits the family, the other sons are priests, the officers, and the lawyers, the status is lower than the eldest son; if you do business, there is another class within the class.

If the old girl has no property, she will have to leave the fence; if she is a female teacher, she will fall to the edge of the class or go beyond the edge.

A good dear, not only solve the personal lifelong problems, but also carry a family to dilute the blessing. For the sake of the family, everyone is struggling to climb up, fearing that they will fall.

This is an important juncture of survival competition. Both men and women and the two young and old are doing their best. Although there are only three or four large households in the towns and villages, the contradictions are complicated enough, and the competition is fierce. The performance of the world is also beautiful.

“Pride and Prejudice” is to describe this kind of human condition from the perspective of love and marriage.

Austin believes that marriage without love is an unbearable distress. Many of the grievances in her novels were caused by the unknown before marriage.

Marriage can not ignore the other person’s character, including appearance, manners, speech, and internal talent. Although the appearance is obvious, it also requires the other side to have a vision to be able to identify the character from the outside.

As for the character of virtue, it depends on him acting for others. This has to be judged from many aspects. Occasionally, one thing is not enough, and we have to look at everyday behavior from everyday life.

It is not easy to know people, and it is not easy to know. In the fierce competition for survival, misunderstandings and disputes between people are even more inevitable.

“Pride and Prejudice” writes about the prejudice of the heroine. How to release it is to gradually deepen the heart from the floating surface of the characters and to grasp their various qualities, cultivation and psychological state.

It can be said that the novels written by Austin are from the perspective of love and marriage, writing the world, and writing the characters inside the world.

The first sentence of “Pride and Prejudice” is opened: “The bachelor of wealthy family, who wants to marry a wife, is a recognized necessity.”

Then I said: “This point is deeply rooted in the hearts of the people. Once the locals come to such a person, the neighboring family ignores his own wishes and regards him as a husband who deserves his daughter.”

Austin looked at the world with a cold eye and pointed out two sentences. Then he led a large group of ridiculous characters, a series of ridiculous plots.

Critics often compare Austen’s novels to comedy of the manners because they are comedy novels.

Although the comedy is only for entertainment according to Aristotle, Plato thinks it can be used for reference and has educational significance.

This is the same as Cicero’s so-called “comedy should be the mirror of life…”. The same is true of Cervantes in Spain and Shakespeare in Britain. Fielding is also used in his self-proclaimed “comic novels”. Said the function of his novels.

These words are already a frequent talk about comedy.

The so-called “mirror” means nothing to reflect life. It is generally believed that the mirrors are ugly and ugly, can be filled with needles, can be used as a whip, and have a warning effect.

But what about Pride and Prejudice? What about the stupid Pastor Collins, Mrs. Bennett, Mrs. Bethel, and so on, sarcasm, even a few slaps, can we get rid of the stupid blunt roots?

Austin does not seem to have this attempt. Her sarcasm is not a pastor, or a nostalgic wife, or a lady, not a man-made system or a ridiculousness caused by bad habits, but such a stupid person.

She didn’t just grab a few idiots to show her teasing, and the wise man didn’t escape her embarrassment. Elizabeth’s so glamorous girl, at the end of the story, was self-evident.

Darcy is so arrogant, lest he should be jokes, and he wants to be appropriate, but he also realizes that he is misbehaving at the end of the story. Austin didn’t hate the characters she had teased and made, no anger, no scorn.

She is in the ground and fully understands them and is completely considerate. Her smile is not an acupuncture, not a whipping, nor a tearful sympathy, but a realization of her feelings. Sometimes she is confronted with the reader and smiles.

Give an example.

In the eleventh chapter, Elizabeth digs into Darcy and says that he is a ridiculous one. Darcy argues that if a person pursues jokes blindly, then even the most sensible and best people – even their most sensible and best behaviors – can be said to be jokes.

Elizabeth said: “Of course someone like that, I hope that I am not that kind of person. I believe, wise, good, I never make fun; stupid, absurd, willful, unreasonable, to be honest, I feel really amused, as long as The occasion allowed me to laugh, I laughed when I saw it. However, that kind of thing is probably what you don’t have.”

“No one can guarantee it. But my life is deliberate and careful, don’t make that kind of fault, laugh and generous.”

“Like vanity and pride.”

“Yes, vanity is a problem; pride, a truly brilliant person will have a sense of his own.”

Elizabeth didn’t look away and smiled.

Elizabeth sneered in Darcy face to face, caught his pride and vanity on the spot, and laughed on the spot. But careful readers will see that the author is also laughing.

Elizabeth is biased against Darcy. Isn’t it because Darcy has frustrated her vanity? She has ridiculed her own self-satisfaction, isn’t she showing pride and not knowing it?

The reader understands the author’s smile and laughs, exactly what George Meredith calls “a rational smile from the mind.”

Laugh, including the other side of seriousness and not laughing. In his article “Slightly on Jane Austen”, C.D. Lewis pointed out that adhering to principles and seriousness is the essence of Austen’s art.

There is a beautiful and reasonable standard in my heart. When I see ugly and unreasonable things, I can’t help but laugh at the comparison. There is no such standard in my heart, and we cannot see the contrast between beauty and ugliness, reasonableness and irrationality at a glance.

Austin often laughs at the back and writes the other side of the laugh.

For example, the dumb Collins in Pride and Prejudice is a big joke to Elizabeth; he was rejected, turned around and promised to Elizabeth’s good friend Charlotte, and was a big joke.

Mrs. Bennett thought that the younger brother, Bingley, had already taken a fancy to her eldest daughter, Ji Ying, who was so eager to forget the shape and brag about it everywhere; This is another joke.

Elizabeth couldn’t think of her good friend Charlotte who would marry Collins, a slave-like fool who was disappointed with her.

She listened to a cousin of a cousin of Darcy and concluded that Bin Lei had heard the words of Darcy, and that her family was poor, so she dismissed the original intention of proposing to her sister Ji Ying.

For these two things, when she talked with Ji Ying, she said angrily:

“There are not many people I really love, and I don’t care much. The more I experience, the more dissatisfied I am. The character of the person is inaccurate. The appearance looks good, quite thoughtful, and not very reliable. I have always been Think so, now I feel better.”

Jiying advised her not to complain so much, ruining her happy mood: each person has a different situation and different temperament; Charlotte has more sisters, she is a prudent person, on property, this is a good thing, maybe she is right Collins is also a bit heavy.

Elizabeth thinks impossible, unless Charlotte is a fool. She does not believe that selfishness is prudent, and blindly embarking on a dangerous road means that happiness is guaranteed. She can’t give up principles and justice to maintain a friend.

Ji Ying blamed his sister for being too radical and defended Bin Lei. He said that he was not responsible. The energetic young people could not avoid misconduct. The woman was out of vanity and saw that he was interested in dumping himself.

Elizabeth said that men should checkpoints and not be able to dump women casually. Although Bin Lei is not bad at heart, although he is not deliberately doing bad things or embarrassing, he will do wrong things, sorry people. I didn’t have the mind, ignored the mood of others, and made up my mind if I couldn’t make up my mind.

The two sisters have their own opinions. According to the following, the principle of the sister is good, and the tolerance of the sister is correct. From such serious and serious texts, it can be seen that Austin’s definite and common sense is common sense.

She loves to read the work of Dr. Samuel Johnson and admire him, called “My lovely Dr. Johnson.” She was deeply influenced by John Johnson and inherited his practical wisdom. The reviewer called her the mental daughter of Dr. Johnson.

Austin has no illusions about the world she lives in, but she prefers to face reality and does not like the illusion of beautifying reality in the novel.

She is cheerful and humorous. She sees the ignorance of the world and the jaggedness of the world. It is not crying with emotion and anger, but understanding, tolerance and laughter. Austin understood it by reason and regarded the world as a comedy.

In this way, to understand the world, it is not to laugh at things that are not pleasing to the eye and unsatisfactory. Laughter is not reconciliation; laughter is not reconciled.

The inner standard of non-good and evil is unswerving, unwilling to adapt to the situation, and by the collision or friction of the outside world, it will give a lightning-like smile.

Austin does not teach the people positively. She only uses her wise spotlights to illuminate the world’s ridiculous people, ridiculous things, and let the intelligent readers explore how to be unsmilable. What is good and wise.

Meredith thinks that the laughter of comedy should be thought-provoking. The laughter inspired by Austin is a thought-provoking laugh.

Pride and Prejudice also has a strict layout like drama. There are no unnecessary characters in the novel (insignificant characters are indispensable, in this sense is also necessary), there is no unnecessary plot.

Everything is closely related to each other, and it is related to cause and effect. The reader is not only eager to know what happened, but also can not help but think about the past, explore the reasons, and guess the aftermath. If the novel has a layout, it will be refined and rounded, and will not be scattered and noisy.

But there is no layout in real life.

The layout of the novel limits the free movement of the characters and the natural development of the things. Under the guidance of his own worldview, the author is inevitably determined by subjective arrangements.

Incorporating a character into a certain path of travel; even if it seems reasonable, it always shows signs of man-made – the author is pretending to be the God of the creation of the world.

However, the layout of Pride and Prejudice is very natural. The reader does not think that a series of causal-related plots are creating a predetermined ending, only to see the natural actions of the characters. The author of course intervened to arrange a foregone conclusion, but the arrangement was light and there was no trace.

For example, the stupid priest Collins in the story is not only a ridiculous character, but also the key to the layout. His lord is Mrs. Kasselin, the aunt of Darcy, who is Elizabeth’s good friend Charlotte. It’s natural for Elizabeth’s friends to meet Darcy again.

Another key figure in the layout was Elizabeth’s aunt, who lived in a town adjacent to the Darcy House when she was unmarried. It is natural for her to revisit the old land and bring Elizabeth into the estate of Darcy.

These personnel relationships do not seem to exist naturally by the author. The turning point of the general layout is often the discovery of hidden secrets; only a few misunderstandings are found here, and the story is natural and not artificially arranged.

All of Austin’s novels, including her unpublished early work, Lady Susan, have layouts that do not reveal traces of author planning. Is it easy to arrange because of the common things in small towns and towns? This is very intriguing.

Austin, like the author of detective novels, limited the story to a small area with a small number of people. Everyone’s words and deeds and any fluctuations in the heart are planned, and the details are not accidental.

Austin directed her niece to write and asked for everything to be explained, apparently her own method of creation. This refines the whole story to be vivid and vivid, and everything makes sense. Small expressions and occasional speeches deepen the understanding of the characters and the understanding of things.

R. W. Chapman, who studied Austin, said that Austin’s Emma is also a detective novel. In fact, in Austin’s novels, the components of detective or reasoning are very heavy.

For example, “Pride and Prejudice” Ridasi met his wife, Wickham, and Darcy was flushed, and Wickham was ashamed. Why? Why did Bin Lei suddenly go back?

Wickham and Lidia ran away, have already deceived the girl, how can they marry her? Elizabeth and Jane often look at the heart of the man like Holmes and Watson, the bottom of the matter. .

Because in social activities, no one is willing to “smallly throw a heart”, only say “three-point words”; three-point words can not be bragging or deceitful, to know the true feelings and true heart, rely on groping speculation – groping speculation is The heart is not the murderer, but the companion who can love each other for life.

Although the story is dull, every detail is of concern.

Austin only said that she likes to put the background of the story on the towns and villages with three or four big households, but did not give reasons. However, we can see the effect of the background on the township from the works.

Austin’s nephew lost a novel at a time. Austin joked that she didn’t steal anyway; her ivory piece, which was meticulously meticulously drawn, was only two inches wide, and her large strokes of text were not useful on small ivory pieces.

Some critics often like to quote this sentence, saying that Austen’s characters are portrayed, but the picture is only two inches wide. In fact, the characters written by Austin and the average size of ordinary people are not miniature figures on small ivory films.

The Grand View Garden in “Dream of Red Mansions” is no bigger than the townships and towns of Austen. We never think that the background is small because of the small size of the Grand View Garden.

Austin’s sentence only emphasizes his own meticulous description. The critics don’t have to die under the sentence to shrink her township into two inches wide.

Austin’s writings are indeed meticulous and exquisite. Creating a character is probably the skill she is most interested in and the best.

All of her works (including unfinished essays) are written by ordinary people, and each one is special, no one is repeated; very unimportant people are also unique and unique, obviously her creations rather than copying real people; it is said that she is novel The names of the places are all true, but the characters are fictitious.

The experience of a person is limited. The real thing is only for one copy, and the second time is repeated. However, if the real thing is used as a material, and the scalp of a certain armor and the heel of a certain B will be used to piece together the characters, it will be inexhaustible and inexhaustible, like a few pieces of glass shavings in the kaleidoscope, which can create a new pattern of infinity. .

Novel readers like to mix characters and authors in the book. The author creates characters, and of course he will give his spiritual outlook to the children of the spirit. But no child can represent a parent.

Elizabeth and the author in Pride and Prejudice have similarities and have the same views; Jane has similarities and the same views with the author.

The characters in the author’s other novels also represent other aspects of her. She personally knows the characters she has created, and knows more deeply than the characters she knows.

For example, Chapter 59 of Pride and Prejudice, Ji Ying asked Elizabeth when she began to fall in love with Darcy. Elizabeth can’t say it herself.

But the careful readers can see it very clearly, because the author gradually changed her emotions and wrote them step by step.

Elizabeth is suspected of being in the eyes of Darcy. She listened to Wickham’s remarks and thought that Darcy was ill-treated by his father, who was taking care of him. She also concluded that Darcy had destroyed her sister’s marriage. Darcy couldn’t help but ask her to marry him. A marriage proposal turned out to be a quarrel. This is the turning point.

Darcy wrote a confession, and Elizabeth repeatedly read the letter, misunderstood it, and saw that there was indeed a place in the family that people could not look down upon. This made her jealous.

If you want to reach the West, you can’t help but ask for a marriage. She didn’t want to think more about this unpleasant thing.

Later, she arrived at the Xijia Manor for sightseeing. He heard the servant’s praise of Darcy, and he could not help but know that he did not know the truth. She is obsessed with the portrait of Darcy, and she has the meaning of love in her heart.

Darcy did not count the old suspicions, but also received her hospitality. She was grateful and regretted. After Lidia’s elopement, she felt that she could not be dazzled by Darcy again, which confirmed her love for Darcy.

Austin often adds details to the characters she imagines. For example, what kind of clothes does Jiying wear, what color she loves, what kind of people her three sisters and four sisters married, and so on, although the novel did not write, Austin told her family, that is, she thought about it carefully.

People who study novels often say that Austen’s characters are round three-dimensional, not flat planes; even if only one plane appears for the first time, it will develop into three-dimensional.

Why? Because the characters are already full-faced figures in the author’s mind, although the readers only see one side, they will see other aspects when they meet each other. These three-dimensional characters can express a very complex inner heart.

Some critics say that Austin writes a deeper ethics, and writes his mind only to glimpse; some say that she writes a very delicate mind, and can be a pioneer of Henry James and Marcel Proust.

These two statements should be taken together. Austin writes that characters only write on the surface, but the floating surface expresses the inner heart – a very complex inner heart, and the expression is very delicate. The person she wrote was not the average person, but the “one.”

According to Western traditional theory, comedy does not write individuals; because comedy satires the weaknesses and shortcomings common to ordinary people, and does not attack individual people.

The characters in the British 17th century comedy are conceptualized, such as a suspicious husband, a jealous wife, a miserable ghost, a coward who lie.

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The characters of the French dramatist Moliere in the seventeenth century, such as Tartuffe and Alceste, also brought some conceptualization.

There can be conceptual roles in the drama, because the actors are flesh and blood, and the concept is based on the actors and gets the person. Not in the novel. The concept of a formula cannot be turned into a specific person.

The weaknesses shared by human beings such as jealousy, laziness, ignorance, selfishness, etc. are just abstract nouns. They are different in the specific characters. They are the same in the poor and alike in the rich. The same is true for the poor.

So the abstract concept can’t represent anyone, but the concept is summarized from the specific person. The more specific the character, the more special, the more typical, the more he can sum up the roots he shares with others.

The above mentioned an African boy who read “Pride and Prejudice” and felt that the characters in the book had nothing to do with him. But then he found out that there was a woman in the town where he lived, exactly the same as Mrs. Katherine in the book.

We also have that kind of woman in China, as well as all kinds of men, women and children described in the novel. Austin is not a real person, but a typical ordinary person. She is not teasing individual people, but the weaknesses and shortcomings shared by many people.

She portrays the human condition and discovers the common roots of the common people. Although the background of the story is placed in a small town, it contains a vast world.

All of the above, if you only analyze a story is unpredictable. The author’s skills in word expression, even outside the story, can only be pursued from the text.

Although the novelist claims to be true, the reader knows that the author has made up. If the author wants to attract readers, the first thing to ask the reader to ignore the story is to be a fiction, and the will willing to listen to it (That willing suspension of disbelief), to make the readers listen to it, have to suddenly hold their interest.

This of course is inseparable from the layout of the story, but the novel relies on the medium of words and the skills of expression play an important role.

In the “Dream of Red Mansions”, Baoyu tells the story of the jade in the jade, and he speaks eloquently and solemnly, that is, he wants to listen to it.

“Pride and Prejudice” opened a few short conversations and brought readers into the fictional world at once; this caught the readers and told them to listen.

One of the judges believes that the first chapter of Pride and Prejudice is the shortest, most playful, and most skillful chapter in English novels.

However, it is only temporary for the aunt to listen to it; if the reader continues to read it, on the one hand, it will not make the reader bored, on the other hand, it must follow the temptation. Although Austin claimed to be a meticulous description, he never bothered.

She does not write the background, does not use abstract adjectives to describe the appearance or the heart, and does not dig out the human heart on the operating table for fine dissection. She uses only dialogue and plot to portray characters. The vivid dialogue and interesting plot are a portrayal of Austen’s character.

The characters created by Austin have been bred in the mind for a long time, and they are born to be mature living people. When they open their mouths, they can make their readers feel their voices, see their people, and see their intentions, because their words are “heartfelt”, that is, nonsense also expresses personality.

Write the characters in dialogue, and Austin is a master. The critics summoned her and Shakespeare because she could write a rich and complex heart with dialogue.

Austin does not let her characters like the characters on the stage or in the novel, she avoids the indiscriminate, and strives for the true nature of the characters. They sang in the corner and performed vividly, capturing the reader’s interest.

Austin’s novels, except for the book of Susanna’s letters, are described by the omniscient author. She never said the original, flat, but in the order of layout.

It can be said that it is not necessary to describe it, and it is not necessary to describe it for the time being, and it is left to be explained when necessary – that is, to tell the reader when he is in urgent need of understanding. This will enable the reader not only to know what is going on, but also to understand the past, to look after the situation, and to think about cause and effect.

The reader is not only an observer or a bystander outside the story, but also involuntarily involved in the story. Austin does not explain whether writing a dialogue or narration.

For example, a conversation between Elizabeth and Darcy, and how Elizabeth’s feelings for Darcy gradually changed, was only understood by the readers themselves and confirmed in the story.

Austin himself said that she does not like to explain; if the reader does not have to think or understand, then it should be deserved. She occasionally comments a few words to the reader, such as the comments on the Bennett at the end of the first chapter, but it is not an explanation, just a comment, just like exchanging ideas with readers.

She allows readers to understand them directly from the people’s speech behavior; listen to what they say, see how they act for others, and know their character. She also let the reader observe the point of the matter, and then speculate on the bottom of the matter.

The reader is curious by attention, while scouting speculates, but is more concerned and more interesting. Because the author does not explain, the reader seems to have personally known the world, experienced the world, has some understanding, has some insight, and feels added wisdom.

Therefore, although it is only ordinary people and everyday things, it is also very attractive. It is meaningful to read the aftertaste.

Austin’s writing is concise, with proper words. In order to describe the story well, he will not hesitate to modify the work repeatedly. “Pride and Prejudice” is once a big cut.

“The article is an eternal thing, and it is worth knowing.” Although Austin called “Pride and Prejudice” his own darling, it is suspected that this novel is too easy and bright, slightly bleak, and there is no effect between the light and the dark.

It is not as good as the “Mansfield Manor”, not as good as “Emma”, not as good as “persuasion”, but this novel is the most popular.

Is the novel “just a novel”? Austin is a novel, and points out the status of the novel in “Nuosangjue Temple”.

“The novelist shows the highest wisdom in his works; he uses the most appropriate language to express his most thorough understanding of human beings in the most appropriate language. He describes the various aspects of human nature in the most subtle way, and his writing shines wit. And humor.”

It is most appropriate to use this passage to appreciate her own novels. Pride and Prejudice is such a novel.

If a novel is valuable, it will be appreciated by readers and will not rely on the critics’ testimony. But if we don’t taste the original, we only grab a story and judge it according to the frame: it is fun to write interestingly, love is love first, and the subject matter is trivial and boring, then, one hand is “taken” and thrown It is.

This reminds me of the story I heard in my childhood: the foreign devil eats the iron fava, eats the shell, spits the beans, and shakes his head and says: “The meat is thin, the nuclear is big, what is it?” The foreign devils boiled tea and ate tea to eat tea. Frowning said: “It’s boring and tasteless, what’s good?”

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