Kris' Dissertation Chpater 5 Data Analysis
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Transcript of Kris' Dissertation Chpater 5 Data Analysis
Chapter 5 Data Analysis (Total 81 PERs)
Chapter 5 Data Analysis (Total 81 PERs)
Chapter 5 provides the data analysis of ironical performative speech acts through
echoic groupings to show character construction of Mr. Darcy and Elizabeth. The
analysis attests to our argument that the 81 ironical performative speech acts depict
characterization through phases of echoic grouping dominance. The three echoic
groupings have been designated into three phases according to the novel’s plot through
the echoic grouping dominance: disagreement, neutral, and agreement (see Figure 5.1 for
echoic grouping dominance phases).
The first section of this chapter will describe the evidence for determining the echoic
grouping dominance phases. Echoic grouping dominance phases provide a way to
illustrate the characterization of Mr. Darcy and Elizabeth according to their echoic
allusions. All ironical performative speech acts between Mr. Darcy and Elizabeth are
analyzed, in addition to other adjacent utterances to elucidate the characterization of Mr.
Darcy and Elizabeth. The data analysis is carried out according to each phase, starting
with the disagreement dominant phase of characterization, and consecutively followed by
the neutral dominant phase, and the agreement dominant phase. The analysis is structured
according to the conversational themes found in each phase, with the conversations in
order within each premise of the phase.
Each phase contains premises which include thematic dialogues, and the analysis is
conducted based upon the thematic flow of characterization. Therefore, it is necessary to
note that the themes are primarily in chronological order of the plot except for one. This
dialogue is from Chapter 10 of the novel (found in section 5.2.2.2 in the Rejection
dialogue), and is placed with the dialogue from Chapter 8 due to their similar topics
within the same premise, Opposition. The disagreement dominant phase contains four
premises, the neutral dominant phase contains three premises, and the agreement
dominant phase has two premises. Searle’s (2001b) [1979] and Austin’s (2002) [1962]
felicity conditions from speech act theory (refer to section 2.2 for felicity conditions) and
echoic allusions from echoic theory (Wilson & Sperber, 2012) (see section 2.4.2 for
echoic theory) are the foundation of the data analysis, and a combination of incongruity
theory and superiority theory (refer to section 2.4.3 for the incongruity and superiority
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Chapter 5 Data Analysis (Total 81 PERs)
theories) supports the analysis to explicate verbal irony throughout the characterization.
The analysis also offers evidence for how Elizabeth’s feminist views impact Mr. Darcy’s
moral character, proving a catalyst for their characterization.
5.1 Phases of Characterization
Pride and Prejudice is divided into three volumes by Austen, but this study
designates the plot into three echoic grouping dominance phases and disregards the
original volumes for division. From the three echoic groupings, we are able to identify
the three phases of characterization in Pride and Prejudice based on the dominant
grouping found within a particular section of the plot. The graph (Figure 5.1) on data
collection shows the 157 ironical speech acts fall in line with the disagreement, neutral
and agreement dominant phases expressed through echoic groupings of verbal irony to
show how both Mr. Darcy’s and Elizabeth’s characters have been constructed throughout
the novel. They use echoic allusions, either in a direct reference echoing each other’s
thoughts or an inexplicit echo of a societal norm; through these allusions Mr. Darcy and
Elizabeth construct each other’s and their own characters over the course of three phases:
disagreement dominant phase, neutral dominant phase, and agreement dominant phase
(refer to Figure 5.1).
Table 5.1 below provides a breakdown of the number of ironical utterances
designated as disagreement, neutral, or agreement based upon their echoic allusions
throughout each phase. This table represents how the echoic grouping dominance phases
were determined. The disagreement dominant phase clearly has a majority of
disagreement ironical utterances, and the agreement dominant phase also has only
agreement ironical utterances. The neutral dominant phase has the least prominent echoic
grouping dominance, however as explained the neutral dominant phase is neutral due to
the mixture of disagreement and apprehension between Mr. Darcy and Elizabeth,
highlighting two major transitions in their characterization at the beginning and end of
the phase.
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Chapter 5 Data Analysis (Total 81 PERs)
Table 5.1 Counts by Echoic Grouping Classification and Phase
Disagreement Utterance
Neutral Utterance
Agreement Utterance
Disagreement Dominant Phase 54 15 0
Neutral Dominant Phase 35 36 3
Agreement Dominant Phase 0 0 14
0
5
10
15
20
25
3 6 8 9 10 11 18 31 32 34 46 54 58 60
157 Verbal Ironies
Chapters
Disagreement
Neutral
Agreement
Phase 1 Phase 2 Phase 3
Figure 5.1 Echoic Grouping Dominance Phases
The first phase is the disagreement dominant phase of characterization, for 54 of the
total 69 ironical utterances are disagreement utterances, where there are only 15 neutral
ironical utterances, and zero agreement ironical utterances (see Table 5.1). The second
phase is the neutral dominant phase of characterization, because of the 74 ironical
utterances, 36 are designated as neutral compared to 35 disagreement, and 3 agreement
ironical utterances (see Table 5.1). Although the transition from disagreement dominant
phase to the neutral dominant phase begins at the end of Chapter 11 of the novel, in order
for a clearer division, Chapter 18 is considered to be the beginning of the neutral
dominant phase (see Figure 5.1). The second phase is neutral due to the apprehension
between the two protagonists. The third phase, agreement dominant phase of
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Chapter 5 Data Analysis (Total 81 PERs)
characterization, is comprised solely of agreement ironical utterances as the
characterization of Mr. Darcy and Elizabeth has been fully developed and the two
characters are no longer in opposition and now hold romantic sentiments for each other
(see Table 5.1). For clarification, the disagreement dominant phase occurs in the start of
the novel beginning in Chapter 1 through Chapter 17, the neutral dominant phase occurs
through Chapters 18-45, and the agreement dominant phase occurs through Chapter 46 to
the end of the novel in Chapter 61, according to the data collection (see Appendices A, B,
C). The three phases of characterization are unequal in length, reflecting the character
development within each phase.
All 81 ironical performative speech acts are analyzed through incongruity (e.g.
Norrick, 2003) and superiority theories (Morreall, 2009) based on the modified speech
act theory (see sections 2.2 and 3.1.1 for speech act theory and its modification) and
echoic theory of verbal irony (see section 2.4.2 for echoic theory) to illuminate the
ongoing character developments of both Mr. Darcy and Elizabeth. The ironical
performative utterances between Mr. Darcy and Elizabeth are of great importance to the
plotline and character developments. They show the characterization stemming from
social constructions of the novel. Mr. Darcy’s and Elizabeth’s character developments are
revealed through their ironical performative speech acts, rendering performative speech
acts the most significant type for the character development according to the plot. To
illustrate the insufficiency of the other four types of speech acts for character
construction, we provide examples from the data to show their deficiency to construct
identity. While we acknowledge that these four types of speech acts may reflect a
person’s character or identity, they do not actively construct identity like performative
speech acts do.
ASR06.01 “Indeed, sir, I have not the least intention of dancing” (Austen, 2003: 27).
In this speech act, there is no direct character identity construction occurring, but
rather Elizabeth is asserting what she does not intend to do, proclaiming a truth to
describe what is already in existence, although it may still be construed as ironical. In
addition, the directional fit of an assertive speech act is words-to-world, which
describes something preexisting in the world (see section 2.2.2 for directional fit).
Therefore, an assertive cannot function to bring something into existence as a
performative.
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Chapter 5 Data Analysis (Total 81 PERs)
DIR10.06 “No, no; stay where you are” (Austen, 2003: 52). This speech act is
simply giving an order or request from the S, directing/requesting the H(s) to do
something and does not construct the character of an entity. A directive speech act
has a world-to-words directional fit, in which it proposes for some circumstance to
change in the world. However, a directive is not able to create a change in the world
when uttered and cannot directly work for character construction.
COM31.03 “You shall hear then” (Austen, 2003: 170). This commissive commits the
S to some future action, and can be taken as a threat or promise depending upon the
circumstances. The directional fit of a commissive is also world-to-words, which is
also an attempt to bring about a change into the world. Like a directive, a COM does
not have the power to simultaneously bring the circumstances into existence. Due to
the directional fit, a commissive is not adequately definitive to construct character
identity.
It is crucial to note that according to speech act theory, directives and commissives do not
necessarily construct the identity of a character, as they are meant to propose some
change upon the world according to the words’ design, although this change may never
manifest. This is opposed to performative speech acts, which bring things into existence
simultaneously when they are spoken (see section 2.2.2 for Searle’s speech act theory and
3.1.1 for performative speech acts).
EXP10.01 “Good-bye” (Austen, 2003: 52). An expressive is an utterance which
simply expresses an attitude or signifies a feeling toward something, such as in
EXP10.01 which good-bye signifies a quick dismissal and gratitude upon departure.
Unlike the other categories of speech acts, an expressive lacks directional fit. It does
not propose any change upon the world, rendering an expressive meager to support
character construction.
These examples provide the explanation of why these four types of speech acts are
inadequate and thus performative speech acts are vital to construct character and are the
main focus of this study. The frequency of ironical speech acts in Figure 5.1 illustrates the
shifts from the disagreement dominant phase at the start of the novel, to the neutral
dominant phase that begins in Chapter 18, and eventually to the agreement dominant
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Chapter 5 Data Analysis (Total 81 PERs)
phase that begins in Chapter 46, where Mr. Darcy and Elizabeth are no longer at odds
with each other and the characters have been fully developed to finalize the novel.
5.2 Disagreement Dominant Phase: Society and Its Members (47
Total PERs)
The first phase of characterization for analysis is designated as the disagreement
dominant phase, which begins in Chapter 1 of the novel through Chapter 17. According
to this research, in the disagreement dominant phase disagreement saturates many of Mr.
Darcy and Elizabeth’s conversations, providing instances for character construction often
seen through their opposing views regarding societal norms. The disagreement dominant
phase is depicted with ironical utterances from Chapters 3, 6, 8, 9, 10, and 11. Within the
disagreement dominant phase, there are four premises which explain the basis of the
dialogue themes, and each premise contains two thematic dialogues. This marks the
initial chapters of the novel when Mr. Darcy and Elizabeth first meet and their
interactions are mostly unpleasant, for they attack each other through the ironical
performative utterances to construct each other’s character as well as their own. The story
begins with Elizabeth being slighted by Mr. Darcy at a public ball, much to her
humiliation. She finds Mr. Darcy’s self-importance to be distasteful, and she determines
to do everything in her power to point out his flawed character. She uses a range of tactics
to expose his faults, and many of her criticisms are voiced indirectly. Although Elizabeth
has “a lively, playful disposition” (Austen, 2003: 14), her judgments of Mr. Darcy in this
phase are critical. Her opponent, Mr. Darcy, is equally adept at the use of verbal irony to
defend himself, illustrated in the analysis of their ironical conversations.
In the disagreement dominant phase, both Mr. Darcy and Elizabeth are forming
judgments of each other using critical irony (for an explanation of critical and friendly
irony, see section 2.3). Mr. Darcy provokes Elizabeth through his criticism of her
attributes, claiming that her appearance is insufficient for his approval to be a dance
partner. After this initial encounter, she tries to vindicate herself, therefore inspiring Mr.
Darcy to expose more of his character by his own means. Elizabeth’s instigations against
Mr. Darcy are not inaccurate as he sees no possibility of attempting to fully defend
himself against them; however Elizabeth is certain that he conceals aspects of his
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Chapter 5 Data Analysis (Total 81 PERs)
character. Try as she might to motivate him to divulge his character, Mr. Darcy does not
often take the opportunity to redress her opinions, and thus she fails to uncover his
character until the end of the novel. Up to the end of the disagreement dominant phase,
Elizabeth’s construction of Mr. Darcy’s character is a result of his responses to her
conjectures against him. Mr. Darcy identifies Elizabeth’s attempts to incite him and
displays his snide view of her finding pleasure at singling him out for ridicule. Elizabeth
exerts her moral stance on societal views over the other characters in the novel, such as
her mother and Caroline who seek material goods in marriage, but she especially seeks to
convey to Mr. Darcy that her own moral character is above his despite his higher social
station and greater wealth.
Note that in this study, the disagreement dominant phase analysis will draw attention
to many instances of verbal irony as the plot of the story makes the first phase the most
prolific for Elizabeth and Mr. Darcy’s characterization because there are 47 ironical
performative speech acts. Therefore, in accordance with Butler’s concept of performative
speech acts as an illocutionary force there are numerous examples of character
construction (refer to section 3.1.1 for performative speech acts and characterization).
The ironical performative speech acts move in accordance with the character
development in this section (Chapters 3, 6, 8, 9, 10, 11), as seen in Figure 4.2. Both
Elizabeth and Mr. Darcy are highly critical of each other’s views of their society, using
verbal irony to echo these preconceptions of character. As we will explain in the
dialogues below, Elizabeth specifically uses ironical performative speech acts to criticize
Mr. Darcy’s fixation on social standing and express her opinion that his social views are
narrow. Mr. Darcy vehemently displays his personal judgments of disagreement with
Elizabeth and begins the discord between the two characters when he employs verbal
irony to slight Elizabeth, and thus the battle of wits is initiated.
5.2.1 Provocation: 3 PERs
5.2.1.1 Initial Meeting
In Chapter 3 of Pride and Prejudice, as seen through the echoic lens, Mr. Darcy
helps to construct Elizabeth’s character through his verbal irony. In this section, the
analysis will mainly follow a thematic task to characterize Elizabeth under Mr. Darcy’s
scrutiny, which is reflective of his own character. This section also serves to feature the
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Chapter 5 Data Analysis (Total 81 PERs)
initial character construction and the plot design surrounding those character
developments. The scene brings to the reader’s attention Elizabeth’s first encounter with
Mr. Darcy during a ball held in Meryton. In this scene, Mr. Bingley tries to convince his
friend, Mr. Darcy, to share in his mirth by provoking him to take a dance partner. Mr.
Bingley indicates Elizabeth, who is sitting within earshot of the conversation, and, as
illustrated, Mr. Darcy begins his relationship with Elizabeth in an ironical tone:
“[T]here is one of her [Jane’s] sisters sitting down just behind you, who is very
pretty, and I dare say very agreeable. Do let me ask my partner to introduce
you.” (Mr. Bingley)
(DIR03.01) “Which do you mean?” and turning round he looked for a moment
at Elizabeth, till catching her eye, he withdrew his own and coldly said: (Mr.
Darcy)
(PER03.01) “She is tolerable, but not handsome enough to tempt me .” (Mr.
Darcy)
(Austen, 2003: 13)
The illocutionary act in DIR03.01 takes the form of a question, which serves to try and
receive information from the H. However, this utterance’s illocutionary act is
pragmatically insincere, as the S does not truthfully require the H to convey any further
information; the evidence follows in the narration where the S, after asking the question
immediately eyes the subject in query. Mr. Darcy’s utterance is an immediate echo of Mr.
Bingley’s reference to Elizabeth, and Mr. Darcy is alluding to an expectation that Mr.
Bingley holds, specifically that there is a pretty young lady whom Mr. Darcy has not yet
noticed and could be taken as a dance partner. Mr. Darcy’s dissociative attitude surfaces
in this speech act—an attitude which is decidedly disinterested and disengaged, and the
initial impression of his character is imprinted on Elizabeth through his speech acts.
Mr. Darcy’s verbal and non-verbal cues, such as obtaining eye contact with
Elizabeth, show that he is aware Elizabeth could hear him. He was speaking to Mr.
Bingley, but his statement PER03.01 was aimed at Elizabeth, telling her that although she
was not an established interlocutor in the conversation, she was the ironical utterance’s
target. Thereafter, whatever he says will be construed by his intended H (Elizabeth) and
bring cause to an appropriate perlocutionary effect. The ironical dissociation goes a step
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Chapter 5 Data Analysis (Total 81 PERs)
further when Mr. Darcy, now receiving both the attention of Mr. Bingley and Elizabeth in
conversation utters PER03.01. At the same time, the S lacks authoritative judgment to
make such a claim, thus performative speech acts for this kind of identity construction
prove to be a better classification. The speech act centers on the literal proposition where
the S brings about a state upon the subject, deeming her “tolerable” and “not handsome
enough.” This act is performative because the subject is an agent who can represent
herself according to her own terms; additionally, another observer, Mr. Bingley, has
represented her more positively than Mr. Darcy’s depiction and in essence her identity is
made through those distinctions.
Mr. Darcy’s opinionated remark upon her appearance is a challenge to the H’s
expectations for uptake; he breaks from the H’s anticipations to present his dissociative
attitude of disapproval of her attributes shown through his verbal irony. According to
echoic theory, the utterance is an ironical understatement, as it agrees to some extent that
Elizabeth has qualifying features for beauty but it serves to echo that previous distinction
with an explicitly critical attitude. Thus, Mr. Darcy’s first performative speech act
imposes upon Elizabeth a bias regarding her physical features, ironically claiming that
her beauty is insufficient for him to seek her out as a dance partner. Under superiority
theory to examine Mr. Darcy, this analysis finds Mr. Darcy’s ironical performative speech
act to draw a delineating conclusion upon Elizabeth, for it is constructed not only with
pride as fault but also to implement his power as a male to authoritatively make such
productions. A woman’s opposition to such a man is obvious, as no one would desire to
be singled out in such a way without a proper reason for dissenting views. Elizabeth had
no prior introduction, and she is seated as a bystander; her unfamiliar personage would
have challenged Mr. Darcy to expand his horizons. Instead, he flees the target by
distancing himself from his so-called inferiors, and Mr. Bingley perpetuates Mr. Darcy’s
commanding stance by making no further moves to argue against his reasoning.
Mr. Darcy’s verbal irony in PER03.01 is evident through the incongruity in
figurative and literal meanings. He claims Elizabeth is “tolerable” yet he clearly displays
his own “intolerable” attitude toward her, and this juxtaposition reveals his ironical claim
regarding Elizabeth. Mr. Darcy deems himself above Mr. Bingley and “he [is] discovered
to be proud, to be above his company, and above being pleased” (Austen, 2003: 12). His
irony hinges on his superiority to claim that someone like Elizabeth is sufficient in beauty
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Chapter 5 Data Analysis (Total 81 PERs)
for Mr. Bingley, but certainly not enough to please his pride. Characterization begins with
this initial interaction. Mr. Darcy is voicing his negative opinion of Elizabeth, which
works to mold her character as potentially unattractive. Mr. Darcy is also giving
Elizabeth an initial understanding of the type of man he is.
Characterization is furthermore apparent in the development of Mr. Darcy’s
posturing himself as an arrogant man. He represents himself and his gender through
ironical performative speech acts, which could be construed to demean or intimidate
females. In the conversation between Mr. Bingley and Mr. Darcy, Mr. Darcy gives a clear
example of such a performance aiming for Elizabeth to be the intended H:
(PER03.02) “I am in no humour at present to give consequence to young ladies
who are slighted by other men.” (Mr. Darcy)
(ASR03.01) “You had better return to your partner and enjoy her smiles, for you
are wasting your time with me.” (Mr. Darcy)
Mr. Bingley followed his advice. Mr. Darcy walked off; and Elizabeth remained
with no very cordial feelings toward him.
(Austen, 2003: 13-14)
These statements are spoken to Mr. Bingley in the presence of Elizabeth, who has just
earlier taken a position within conversational distance from Mr. Darcy. The narrative
indicates that Mr. Darcy is responding to Mr. Bingley, but for a brief moment Mr. Darcy
catches Elizabeth’s attention via eye contact (Austen, 2003: 13). With this nonverbal cue,
Elizabeth is brought into the conversation as the intended H and the object of his verbal
irony, thus eliciting this relationship between Mr. Darcy and Elizabeth as a site for the
provocation of irony to happen. In PER03.02, Mr. Darcy’s statement proves to be ironical
according to incongruity theory through the juxtaposition of reality and his statement
claiming Elizabeth is “slighted” by other men; she has not been slighted by the other men
present, but rather Elizabeth has been intentionally “slighted” by Mr. Darcy, revealing the
duality in his statement that creates verbal irony. In truth, there is a shortage of male
dance partners, and Elizabeth sat down for two dances (Austen, 2003: 13). Mr. Darcy’s
ironical utterance illustrates the pride in his character; figuratively, Mr. Darcy offended
Elizabeth, claiming that she had been slighted by other men at the ball, which is sarcastic.
As such, he is dismissing Mr. Bingley’s suggestion by deflecting the truth of the situation,
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Chapter 5 Data Analysis (Total 81 PERs)
providing the incongruity in his irony to explicate he has no interest in Elizabeth.
In ASR03.01 Mr. Darcy’s advice to tell Mr. Bingley that he could not conceivably be
convinced to dance with Elizabeth, could be interpreted ironically if one considers that
the statement was indirectly for Elizabeth to understand that you in fact means Elizabeth.
Elizabeth is within earshot, and Mr. Darcy has confirmed her attention by meeting eyes;
his statement is an allusion to the fact that he intends to refrain from social interaction
with her at this event, as he believes her to be beneath his stature. Mr. Darcy ironically
understates that Elizabeth is wasting her time if she is waiting for an invitation from him
to bring about distinction against her worthiness. The verbal irony is given away when
clearly Elizabeth is not waiting for an invitation to dance from Mr. Darcy and simply
hears the conversation, and she immediately passes judgment on Mr. Darcy’s character,
perceiving him to be an arrogant man.
In PER03.02, Mr. Darcy’s words conceal contempt he has for Elizabeth, over whom
he takes a superior social stance by drawing boundaries. Elizabeth is viewed as a
character capable of committing herself to personal representations, so Mr. Darcy’s
statement takes a derogatory color. Not only does he purport to take priority over Mr.
Bingley, by virtue of his superior wealth, but also he expands his personal importance to
encase innocent and unacquainted female bystanders. Although the ironical performative
speech acts are putting forth statements regarding Elizabeth, they simultaneously work to
build Elizabeth’s perception of Mr. Darcy. Mr. Darcy makes Elizabeth out to be a woman
whose social standing is beneath his own. However, the conjecture is also constructing
Mr. Darcy’s own character, from his speech acts and behavior toward Elizabeth in a
public social setting. Before the ball was over, “his character is decided. He was the
proudest, most disagreeable man in the world, and every body hoped that he would never
come there again” (Austen, 2003: 13). This dialogue marks the beginning of the
disagreement dominant phase, where Mr. Darcy and Elizabeth are immediately on poor
terms even before an official introduction.
Elizabeth is not technically an interlocutor in the conversation, so she has no
opportunity with which to construct Mr. Darcy’s character. Mr. Darcy, however,
immediately begins to pass judgment upon Elizabeth. Mr. Darcy’s opinionated criticism
of Elizabeth constructs her identity as an inferior female from a lower social standing. At
the same time, he also portrays himself to be superior, vain and haughty by criticizing
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Chapter 5 Data Analysis (Total 81 PERs)
Elizabeth’s appearance. He breaks down any former depiction of him as a gentleman
when he first arrived (Austen, 2003: 12) and creates the image of a harsh man who is
unwilling to adhere to expected social behavior when people, especially women, of a
lower class are present.
5.2.1.2 Retaliation
In this dialogue, Elizabeth’s ironical performative speech act works to construct Mr.
Darcy’s character from their first encounter at the Meryton ball. Her ironical performative
speech act will be examined through the incongruity and superiority theories to illustrate
the echo alluding to her scrutiny of Mr. Darcy’s moral character, which reflects her own
nature. This dialogue takes place at the Bennet’s home, Longbourn. Mr. Bingley’s party
and the Lucases have gathered there to visit the Bennet family. Mr. Darcy is engaged in
conversation with Sir William Lucas when Elizabeth approaches, and Sir Lucas promptly
encourages Mr. Darcy to dance with Elizabeth. To remain polite in the presence of Sir
Lucas, Mr. Darcy also invited her to dance, but Elizabeth refuses.
(PER06.01) “Mr. Darcy is all politeness," said Elizabeth, smiling. (Elizabeth)
“He is, indeed; but, considering the inducement, my dear Miss Eliza, we cannot
wonder at his complaisance—for who would object to such a partner? (Sir
Lucas)
(Austen, 2003: 27)
In PER06.01, Elizabeth’s verbal irony is aimed at Mr. Darcy’s invitation to dance. Her
animosity toward Mr. Darcy is evident through the ironical courteous demeanor she must
express in the presence of others. Through her ironical tones intended for Mr. Darcy to
comprehend, Elizabeth conveys to him she is not beguiled by his attempt. Elizabeth,
cognizant of Mr. Darcy’s lack of sentiments of her, was determined to keep her distance
from him (Austen, 2003: 24). After the Meryton ball, Elizabeth and her family resent Mr.
Darcy for slighting Elizabeth, and they find him so unpleasant that Mrs. Bennet warns
Elizabeth to not dance with him (Austen, 2003: 21). PER06.01 echoes Elizabeth’s
perception of Mr. Darcy’s superior character as ungentlemanly. PER06.01 is an
overstatement, ironically alluding to Mr. Darcy’s polite behavior in the presence of Sir
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Chapter 5 Data Analysis (Total 81 PERs)
Lucas. Mr. Darcy’s politeness is merely for propriety, from Elizabeth’s perspective. Her
allusion to Mr. Darcy’s character in PER06.01 reflects the opinion that he exhibits
behavior for the sake of decorum. Sir Lucas’s reaction confirms he does not understand
Elizabeth’s verbal irony intended only for Mr. Darcy’s uptake. The intended meaning of
PER06.01 conveys her disbelief in Mr. Darcy’s polite manner, but Sir Lucas as the
uninitiated H does not construe the irony in her statement, illustrated in his sincere
response to the literal meaning of PER06.01, indicating Mr. Darcy was indeed polite
because he could not object to being her dance partner (Austen, 2003: 27).
In the present encounter, Mr. Darcy is exhibiting politeness toward Elizabeth,
although prior to this Mr. Darcy expressed contempt for her, disparaging her
disqualifying attributes. The incongruity in Elizabeth’s utterance PER06.01 reveals her
thoughts of Mr. Darcy, and provides the foundation for his character construction. She
believes Mr. Darcy to be of ignoble character for his conceited outlook and judgmental
forethought. The performativity of PER06.01 constructs Mr. Darcy’s character through
Elizabeth’s observations of him. Elizabeth’s assessment of Mr. Darcy is founded on his
initial behavior towards her in Meryton, where he portrayed himself above others. This
first interaction set the tone for Elizabeth’s future evaluation of Mr. Darcy, for she
believed at the onset that his ungentlemanly behavior showed a lack of moral character.
Elizabeth expresses an ironical view of Mr. Darcy. She knows that his request to
dance was not made with sincerity, and believes his opinions of her to be unfavorable.
Based on incongruity theory, the verbal irony arises from the realized opposition in her
utterance as figurative meaning is intended to convey that Mr. Darcy is not polite. Mr.
Darcy’s character construction occurs through the incongruity in Elizabeth’s ironical
statement PER06.01. Despite his first impression of Elizabeth at the Meryton ball, Mr.
Darcy becomes intrigued with Elizabeth. Elizabeth is unaware of Mr. Darcy’s growing
intrigue in her, however, and rebukes him. In her perception of Mr. Darcy, Elizabeth
maintains her own morality and despises Mr. Darcy’s discriminatory nature.
Elizabeth’s moral stance is fueled by her dislike for Mr. Darcy. She admits that had
he not injured her own pride, she might have engendered a more positive assessment of
his character (Austen, 2003: 21). From the tenets of superiority theory, Elizabeth’s own
decorum, which conceals the figurative meaning of PER06.01, is an attempt to claim her
dominance over Mr. Darcy in terms of moral character. Elizabeth believes her own
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Chapter 5 Data Analysis (Total 81 PERs)
morality may influence Mr. Darcy’s haughty behavior during their encounters. Her
ironical performative speech act invocates how ill-mannered Mr. Darcy is in order to
show her disapproval of his moral standards. Her refusal to dance with Mr. Darcy at Sir
Lucas’s request is her mode of retaliation against Mr. Darcy for his initial rejection of her.
Refusal is a method for maintaining the upper hand, for through refusing his request the
power shifted from Mr. Darcy to Elizabeth as she affirmed her manifest independence.
The irony is apparent through the infelicity in her utterance, as Elizabeth believes Mr.
Darcy to be discourteous and judgmental, yet she tells Sir Lucas that he is “all
politeness,” meant to be cynical. The purpose for Elizabeth’s irony in PER06.01 is to
reveal to Mr. Darcy her perceptions of his moral character, and emphasize his deficiency
in character toward others whom he believes are inferior in social class and manners.
This dialogue is characteristic of the disagreement dominant phase of
characterization due to the continuation of negative attitudes and critical perceptions
between Mr. Darcy and Elizabeth. These features of the dialogue form the character
constructions of both Mr. Darcy and Elizabeth. The power of PER06.01 as a performative
utterance constructs Mr. Darcy’s character according to Elizabeth’s opinions and moral
stance, and the incongruity inherent in verbal irony cues the readership and Mr. Darcy in
on the figurative meaning of her utterance. In addition to forming Mr. Darcy’s identity,
Elizabeth’s verbal irony works to reflect her own character as proud in resistance to Mr.
Darcy’s prejudice against her because she is a woman, making her inferior to him in
society. The first premise of the disagreement dominant phase only includes 3 ironical
performative speech acts because Elizabeth and Mr. Darcy are in the initial stages of
characterization. Elizabeth does not wish to speak to Mr. Darcy, and thus there are fewer
performative speech acts between the two due to lack of conversation.
5.2.2 Opposition: 7 PERs
5.2.2.1 Gender Views
This dialogue is found within Chapter 8 of the novel, when Elizabeth is visiting
Netherfield to look after Jane, who had fallen ill. Elizabeth and Mr. Darcy construct each
other’s character identity through ironical performative utterances based on their echoic
allusions of gender views. During a discussion, Mr. Bingley remarks that he is impressed
to see nearly all young ladies are accomplished. Mr. Darcy argues that many women are
14
Chapter 5 Data Analysis (Total 81 PERs)
undeserving of the title “accomplished” for basic skills such as sewing do not qualify as
outstanding, because common skills do not set a woman apart from others as truly
accomplished. Elizabeth retorts, ironically ridiculing Mr. Darcy for his high expectations
of an accomplished woman.
(PER08.01) “Then,” observed Elizabeth, “you must comprehend a great deal in
your idea of an accomplished woman.” (Elizabeth)
(PER08.02) “Yes, I do comprehend a great deal in it.” (Mr. Darcy)
(Austen, 2003: 39)
In PER08.01, Elizabeth’s verbal irony is an allusion to Mr. Darcy’s character, particularly
on his conceit. Mr. Darcy’s requirements for an accomplished woman are not easily
attainable, still he is determined to claim that a woman must hold all of qualities he
deems necessary. Mr. Darcy claims that he hardly knows more than “half a dozen”
women who he considers accomplished. Elizabeth’s retort in PER08.01 is a sardonic
insinuation that Mr. Darcy does not have a realistic comprehension in his understanding
of an accomplished woman. The irony is located in the disaccord between Elizabeth’s
beliefs regarding Mr. Darcy’s ideals of an accomplished woman and what is stated in her
literal utterance. On the surface, PER08.01 claims that Mr. Darcy must understand what
an accomplished woman is. Her irony, revealed in the perlocutionary act for Mr. Darcy’s
uptake, is mocking Mr. Darcy for his own determination that he holds a superior stance to
claim who can be considered accomplished. His boldness in handing down judgments on
the accomplishments of women in one sweeping assessment illustrates the proud
estimation in which he holds himself. Elizabeth is constructing Mr. Darcy’s character to
reflect her perceptions of him, as arrogant and unable to relate to those who are not of the
same social standing as he.
Superiority theory enlightens Elizabeth’s intended meaning, which is to allude that
he has a biased understanding of what it means to be an accomplished woman. Due to his
higher social station, Mr. Darcy places unrealistic expectations upon all women, and
these expectations are especially inaccessible by women whose families do not possess
some amount of wealth to ensure a proper education. Mr. Darcy retorts to Elizabeth’s
criticism with a direct quotation in PER 08.02, where he wishes to emphasize his opinion,
therefore echoing a quotation of Elizabeth’s statement, claiming that he “comprehends a
15
Chapter 5 Data Analysis (Total 81 PERs)
great deal” regarding accomplished women and their standards for achievement. Mr.
Darcy intends to emphasize that he does in fact understand what qualities are necessary
for an accomplished woman by quoting Elizabeth, offering a prime example of an echo in
the analysis. His ironical performative speech act echoes a direct quotation to defy
Elizabeth by throwing her words of mockery back at her (Austen, 2003: 39). Through the
lens of superiority theory, Mr. Darcy affirms his perceived higher stance by adamantly
defending his narrow judgment of who are considered accomplished women in society.
Mr. Darcy and Caroline protest against Mr. Bingley’s assumption, claiming a woman
must attain many achievements in order to be considered accomplished, such as poetry,
language, and other fine arts (Austen, 2003: 39). Mr. Darcy adds that “to all this she must
yet add something more substantial, in the improvement of her mind by extensive
reading” (Austen, 2003: 39). Caroline plays Mr. Darcy’s “faithful assistant” by agreeing
with his own discernment of what a woman must achieve to be considered accomplished,
and Elizabeth mocks them for their high expectations, retorting to Mr. Darcy’s argument:
(PER08.03) “I am no longer surprised at your knowing only six accomplished
women.” (Elizabeth)
(PER08.04) “I rather wonder now at your knowing any .” (Elizabeth)
(DIR08.01) “Are you so severe upon your own sex as to doubt the possibility of
all this?” (Mr. Darcy)
(PER08.05) “I never saw such a woman. I never saw such capacity, and taste,
and application, and elegance, as you describe united.” (Elizabeth)
(Austen, 2003: 39)
Elizabeth’s irony in PER08.03 is meant for Mr. Darcy, echoing his prior admission to
only knowing half a dozen accomplished women to mock his biased beliefs.
Undoubtedly, she disagrees with Mr. Darcy’s high standards for female achievement,
alluding that no woman is able to meet his criteria for accomplishment. PER08.03
contains the duality when Elizabeth says to Mr. Darcy that she is no longer surprised. The
duality of the utterance reveals her verbal irony because she was not surprised at Mr.
Darcy’s standards but she declares she is “no longer surprised” to stress the incongruence
in her perlocutionary act intended for the H’s (Mr. Darcy’s) uptake. Elizabeth knows Mr.
Darcy considers himself superior to others, and that his criteria are based upon his
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Chapter 5 Data Analysis (Total 81 PERs)
notions of societal norms for women with a higher social station. The stress of the word
“only” complements Elizabeth’s sardonic surprise, as she would rather not expect Mr.
Darcy to know accomplished women because his standards are decidedly critical, and the
vocal cues (i.e. italicized words in conversations) imply beyond the literal meaning of the
utterance, highlighting the duality. Elizabeth states she is surprised he knew as many as
six accomplished women, if any accomplished woman at all. “Only” is incongruent with
her figurative meaning hidden in her literal utterance, and thus reveals the infelicity in the
utterance.
PER08.03 and PER08.04 can be explained through Elizabeth’s ironic banter, which
conceals benevolent intentions through a critical exterior (see section 2.4.3.3 on the
banter principle). Elizabeth’s figurative meaning to Mr. Darcy in PER08.03 is that she
does not approve of Mr. Darcy’s standards of women’s achievement, and indicates that he
holds unrealistic expectations of women. “I rather wonder now at your knowing any”
carries on Elizabeth’s intentional irony by exclaiming her “surprise” that Mr. Darcy has
managed to meet any accomplished women at all. The verbal irony is an overstatement,
revealed in her figurative meaning—that she does not expect him to know any women he
can deem accomplished. The irony is an echo of Mr. Darcy’s self-imposed superiority to
others. Elizabeth’s banter through irony functions to create a sense of awareness in Mr.
Darcy of his impractical standards for women. PER08.04 ironically entails that Mr. Darcy
cannot know any women who are accomplished in all of these areas. The juxtaposition of
figurative and literal meanings reveals her allusion to the reality in the utterance.
Elizabeth is using women as scapegoats in her irony to highlight Mr. Darcy’s own
prejudiced view of societal expectations for women.
Mr. Darcy responds with DIR08.01, a question to Elizabeth’s comments PER08.03
and PER08.04. In DIR08.01, Mr. Darcy wonders at Elizabeth’s assessment of women,
incongruously echoing her “severity” in PER08.03 and PER08.04. The incongruity in Mr.
Darcy’s question lies in the fact that Elizabeth is challenging Mr. Darcy’s severe
standards for women. On the surface he asks why Elizabeth is so “severe” upon her own
sex; however he figuratively conveys that he is the severe one who rightfully places harsh
judgments on women in society, accentuating his verbal irony. His response to Elizabeth
is rhetorical irony as he affirms his stance on the education of women in spite of his
awareness of its severity. Elizabeth’s response to Mr. Darcy epitomizes her feminist
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Chapter 5 Data Analysis (Total 81 PERs)
stance in contrast to his societal outlooks, representative of a male-dominated society.
In PER08.05, on the surface Elizabeth claims she has never met a woman who
embodies all of the qualities Mr. Darcy and Caroline have deemed obligatory. Elizabeth’s
mockery is illustrated through the incongruity of PER08.05, in words “as you describe
united” which allude to Mr. Darcy’s severe standards for women’s education, and reveal
her real attitude that his criteria are harsh. Elizabeth ironically claims to have seen no
woman who holds all of these qualities “united” to emphasize that a woman may have
these characteristics but would still be unable to live up to Mr. Darcy’s criteria. By
refuting Mr. Darcy’s criteria for accomplished women, she outrightly challenges him that
she is nowhere near what he considers an accomplished woman, showing her resolute
willfulness in character. In turn, she implies that she will not be judged by his standards.
PER08.05 is indicative of Elizabeth’s feminist position in regards to her society, and Mr.
Darcy is symbolic of society’s critical standards for women. Elizabeth’s irony is critical
of Mr. Darcy’s own principles, as his pride and prejudice hinder him from flexibility in
determining who is worthy of his praise. The incongruity in the layers of Elizabeth’s
ironical utterance lies in claiming she has never seen a woman who meets these criteria;
she is displaying that she is in fact not severe and rather compassionate, indicating Mr.
Darcy to be the severe one.
Superiority theory explains Elizabeth’s verbal irony in her three utterances
(PER08.03, PER08.04, and PER08.05) because she uses irony at the expense of women.
Similar to the Socratic Method (see section 2.4.3.3 for Socratic irony), Elizabeth
denounces women, including herself, in order to entice Mr. Darcy to reveal his own
arrogance. By denying what he claims regarding accomplished women, Elizabeth entices
Mr. Darcy to accuse her of being too severe upon women, a confession which illuminates
his own severity. Women are the object of Elizabeth’s irony, and her denigration of
women serves the purpose to illustrate the inconceivability of Mr. Darcy’s expectations
for women of his time. His criteria are discriminatory against women who are from a
lower social standing, as the opportunity to become accomplished in all areas of fine arts
may not be available to those women without substantial means. Elizabeth’s self-
deprecating irony (see section 2.5 for the functions of irony) includes herself as one of
these women who cannot be considered accomplished. Her ironical utterance serves to
voice her own opinion by placing herself lower with these other women, and she
18
Chapter 5 Data Analysis (Total 81 PERs)
undeniably reveals her irony to disapprove of how severely women are evaluated in
society. Through verbal irony, Elizabeth exposes Mr. Darcy’s haughtiness in holding
everyone to his own standards of judgment. She portrays his character to be exceedingly
proud, and insinuates that he places himself far above others for their inequalities in
wealth, education and social standing, therefore he is also prejudiced. In this dialogue,
her covert irony brings to light Mr. Darcy’s character flaws in her attempt to point out his
own faults to him.
Elizabeth disapproves of Mr. Darcy’s ideals of an accomplished woman, overstating
her surprise that he has met any women he can deem accomplished. His response is
rhetorical irony aimed at Elizabeth’s criticism of his unrealistic standards highlights his
empathy; he is beginning to be able to relate to Elizabeth’s feminist perspective on
women’s lack of education, but he purposefully refuses to express sympathy towards her
plight because of his pride. His recognition of her opposing point of view is indicative of
the small positive influence Elizabeth is beginning to exert over his moral character in the
early stages of the disagreement dominant phase.
5.2.2.2 Rejection
This dialogue takes place in Chapter 10 of the novel, and continues with Mr. Darcy
attempting to charm Elizabeth by ironically indicating that Elizabeth must “seize such an
opportunity of dancing a reel” with him (Austen, 2003: 50). Mr. Darcy’s arrogance takes
over because he believes she will not refuse him. However, Elizabeth, knowing his
character to be overconfident, retorts with more irony to challenge Mr. Darcy in public, in
the same way he humiliated her during their first encounter at the Meryton ball.
Elizabeth’s following reactions are pinpointing her feminist perspective in contrast to Mr.
Darcy’s prejudiced views of gender norms within Regency England.
(DIR10.04) “Do not you feel a great inclination, Miss Bennet, to seize such an
opportunity of dancing a reel?” (Mr. Darcy)
She smiled, but made no answer. He repeated the question, with some surprise
at her silence.
(ASR10.01) “Oh!” said she, “I heard you before, but I could not immediately
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Chapter 5 Data Analysis (Total 81 PERs)
determine what to say in reply.” (Elizabeth)
(ASR10.02) “You wanted me, I know, to say 'Yes,' that you might have the
pleasure of despising my taste,” (Elizabeth)
(PER 10.10) “but I always delight in overthrowing those kind of schemes, and
cheating a person of their premeditated contempt.”
(COM10.01) “I have, therefore, made up my mind to tell you, that I do not want
to dance a reel at all.” (Elizabeth)
(Austen, 2003: 50)
To interpret the verbal irony in the interaction between the two characters to further
construct their identities, Elizabeth is not only stating her opinion but also developing her
character and bringing that opinion into existence concurrently. She is affirming her
feelings in parallel and her utterances are thus speech acts performing identity
construction. She is making it clear to Mr. Darcy that his comments are not worth
answering right away. PER10.10, a performative speech act exemplifies her views of Mr.
Darcy’s character and her own personality. PER10.10 illustrates a defensive maneuver by
cutting Mr. Darcy down from his high horse. Superiority theory helps the readership
comprehend Elizabeth’s PER10.10 that is built on her previous ironies that she did not
know how to reply to Mr. Darcy’s request to dance, yet she ironically states that she knew
what he wanted her to say. Therefore these ironical utterances in turn entice her supposed
superior, Mr. Darcy, to fall into her blame, according to superiority theory’s emphasis of
Socratic irony (see section 2.4.3.3 for superiority theory). She feigns that she does not
know how to reply to a dance invitation from a male figure of high social standing. She
then outrightly points out Mr. Darcy’s snide schemes with his supposed superior forefront
to “despise” anyone inferior to him.
In this dialogue, Elizabeth is specifically constructing Mr. Darcy’s character through
her ironical utterance PER10.10. Her verbal irony further imposes upon Mr. Darcy a
superior nature, by professing that she knew he expected her to accept his invitation to
dance. She also explicitly states that Mr. Darcy only wanted to dance with her to relish in
his own distaste for her company, tarnishing his self-supposed image as a gentleman. She
specifically aims her ironical criticisms at his pride—a characteristic she believes is a
fault that Mr. Darcy holds a superior belief. Elizabeth is criticizing Mr. Darcy with
20
Chapter 5 Data Analysis (Total 81 PERs)
ironical statements stressing his character flaws. PER10.10 shows that Elizabeth is also
aware of her own ironical nature when she admits she “delights in overthrowing” Mr.
Darcy’s schemes, and “cheating a person of their premeditated contempt.” Her rhetorical
irony is an overstatement, for her insinuation is shown clearly through her own character
construction that she is a witty, lighthearted and independent thinker not afraid to give her
own opinions to a male role in a higher social class.
In other words, Elizabeth is mindful in this dialogue that she is the target of Mr.
Darcy’s verbal irony ridiculing her by implying that any woman must desire to dance
with him and could not refuse him, because he always carries this conceited nature.
Through echoic account the irony can be seen specifically pertaining to their opposing
views on societal norms in the setting of the disagreement dominant phase. In PER10.10
Elizabeth is alluding to her mocking attitude towards Mr. Darcy’s invitation to dance. Her
smile is nonverbal communication in that her first reaction was a smile and no immediate
reply. Elizabeth’s smile is ironic in and of itself. She knows that Mr. Darcy wants her to
say yes, although she soon replies that she did not know how to answer him. Her brief
moment of silence was intended to have Mr. Darcy repeat his request, exercising her
perceived power over him for making him wait. Therefore, her statement is ironical in
PER10.10 because she portrays herself as hesitant while she is in truth determined in her
response.
The way Elizabeth carries out her verbal irony by claiming her independence shows
her feminist view through an echoic allusion regarding her opinion of women’s role in the
setting of Regency-era England. Elizabeth’s irony places an emphasis on gender equality
and demonstrates her alternative view of her society. Her mockery not only criticizes Mr.
Darcy’s beliefs, but proffers a perspective for him. It is evident that no woman had ever
spoken to him with such frankness as Elizabeth had, and her atypical character started to
have a profound effect upon him to eventually alter his views and improve his moral
character. The oppositional function of irony (see section 2.5 for functions of irony) is
frequently observed in Elizabeth’s ironical utterances, as her aim is to make Mr. Darcy
contemplate his ideologies from an outside perspective.
(DIR10.05) “—and now despise me if you dare.” (Elizabeth)
(PER10.11) “Indeed I do not dare.” (Mr. Darcy)
(Austen, 2003: 50)
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Chapter 5 Data Analysis (Total 81 PERs)
Her intentional irony can be seen challenging Mr. Darcy when she continues with a
sardonic “dare” to him, implying through irony that she believes his reason for inviting
her to dance was only to provide an opportunity to despise her. The direct challenge of,
“despise me if you dare” in DIR10.05 echoes a specific thought alluding to how Mr.
Darcy despises her for her disqualifying beauty at Meryton ball when the two characters
first met (Austen, 2003: 13). DIR10.05 also echoes Elizabeth’s previous statement of
rejection to Mr. Darcy, in which she ironically claimed he was “all politeness” (Austen,
2003: 27). Her reasons for rejection are to avoid being despised by Mr. Darcy. She then
ironically dares Mr. Darcy to “despise” her after advocating her independence. In a sense,
she still invites him to continue with the proposal, at his own risk. She specifically tells
Mr. Darcy to continue if he dares, with the resolution of challenging him and ending his
proud charade. Elizabeth proves that she is not afraid to show her bold character and
confront Mr. Darcy’s views on how a woman should behave at the time in society, as well
as his views on how she should behave according to her lower social standing. She shows
her independence through rejecting his dance proposal, proving she is not bound by
societal norms. Elizabeth’s character struggle against social dictate is apparent, and Mr.
Darcy’s obstinate, proud nature is also well observed in the disagreement dominant phase
of their characterization.
Mr. Darcy’s response to Elizabeth in PER10.11 shows his conflicted attitude towards
her; he sees her as inferior, and does indeed despise her social standing and others who
are inferior to himself. However, he cannot despise her because he has become bewitched
by her, and in his thoughts he claims “were it not for the inferiority of her connections, he
should be in some danger” (Austen, 2003: 51). PER10.11 reveals Mr. Darcy’s inner
struggle going on within himself regarding his partiality for Elizabeth. Despite a desire to
dislike Elizabeth, he is unable to despise her although he is grateful for her inferiority lest
he be inclined to fall in love with her. Mr. Darcy’s irony used in PER10.11 is ironical
more so for himself than directed at Elizabeth. He is confused by his own outlook and
thus expresses his dissociative attitude towards Elizabeth’s comment in DIR10.05. He is
refuting her belief that he does despise her, revealing the irony in PER10.11 that Mr.
Darcy wanted to despise Elizabeth but found her too charming (Austen, 2003: 51).
Mr. Darcy’s character is developing, and his ideals are changing, which can be seen
22
Chapter 5 Data Analysis (Total 81 PERs)
in the dialogue’s last ironical utterance PER10.11. He replies to Elizabeth that he does not
dare to despise her; this utterance is relaying to the reader that Elizabeth has become
more appealing to him, yet he would like to continue despising her as he has before due
to her lower social standing. He has yet to relinquish his superiority complex which keeps
him from being able to consider having real feelings for Elizabeth. His thoughts reveal
that the only thing keeping him from entertaining more romantic sentiments for her is the
fact that she is inferior, a detail which Mr. Darcy cannot accept in a woman of interest.
Mr. Darcy continually constructs Elizabeth’s character by making both direct and indirect
references to her lower social standing as well as other personality traits he finds
insufficient or inferior to his own. Despite her inferior standing compared to Mr. Darcy,
he is beginning to become amused by their character developments. He is not accustomed
to a woman who boldly speaks her mind, especially to criticize him. Mr. Darcy’s
changing attitude towards Elizabeth shows that he believes her to be an exceptional
woman, one that he could love were it not for their class discrepancy. Mr. Darcy begins to
see a new Elizabeth, and the reader also sees Elizabeth through his eyes and understands
that she is having a profound effect on his rigid personality.
In this dialogue one can see how Mr. Darcy is slightly affected by Elizabeth’s
worldviews on gender roles and social class. She not only rejects him, but ridicules him
in the process by proving he cannot get the best of her. Elizabeth expected Mr. Darcy to
be displeased when she refused his invitation to dance, yet he was unaffected by her
sharpness; in fact, her behavior only worked to make him more enamored with her.
Despite Mr. Darcy’s growing admiration of Elizabeth, she remains certain that her
perception of his nature is correct and therefore her feelings for Mr. Darcy have not
changed. However, Elizabeth does not merely aim to mock Mr. Darcy with her ironical
utterances but wants him to see the error of his rationale, and most importantly his
judgmental nature. In this premise, 7 performative speech acts represent Elizabeth and
Mr. Darcy’s characterization, highlighting Elizabeth’s boldness to challenge Mr. Darcy
for his moral character.
5.2.3 Character Contrast: 16 PERs
5.2.3.1 Judgment
This dialogue, taken from Chapter 9, is set at Netherfield, when Mrs. Bennet visits
23
Chapter 5 Data Analysis (Total 81 PERs)
Jane and Elizabeth. During a conversation amongst the party, Elizabeth ridicules Mr.
Bingley’s simple character using verbal irony to provide a contrast to Mr. Darcy’s more
complex character. The interaction between Mr. Bingley and Elizabeth in Mr. Darcy’s
presence provides a prime example of character comparison through verbal irony. Mr.
Bingley claims to Elizabeth that he is determined and that whatever he does “is done in a
hurry” (Austen, 2003: 42). Elizabeth responds:
(PER09.01) “That is exactly what I should have supposed of you,” said
Elizabeth. (Elizabeth)
“You begin to comprehend me, do you?” cried he, turning towards her. (Mr.
Bingley)
(PER09.02) “Oh! yes—I understand you perfectly.” (Elizabeth)
(Austen, 2003: 42)
In PER09.01 and PER09.02, Elizabeth is mocking Mr. Bingley through her ironical
attack on Mr. Darcy, therefore constructing both Mr. Darcy’s and Mr. Bingley’s
characters. She considers Mr. Bingley easy to comprehend, but her irony is found in the
incongruence of her use of “you” to Mr. Bingley when she is referencing Mr. Darcy as
well. According to this analysis, Elizabeth uses Mr. Bingley as a contrast to Mr. Darcy,
and therefore her utterances which are spoken to Mr. Bingley have an intended meaning
to aim for Mr. Darcy’s uptake for character comparison. Through her ironical utterances
PER09.01 and PER09.02, Elizabeth is conveying that she can see past Mr. Darcy’s
amiable demeanor on the surface, and grasp his true character. For example when Mr.
Darcy displayed himself as a gentleman in front of Sir Lucas at Longbourn, Elizabeth
believes that Mr. Darcy’s invitation to dance with her was polite merely for the sake of
propriety in public considering his first slight against her in Meryton (Austen, 2003: 27).
Utterance PER09.01 is an allusion to Mr. Bingley’s statement that he would quickly
change his mind and follow through with determination, and reveals that she deems his
character easily comprehendible; the literal meaning of PER09.01 conceals her reference
to Mr. Darcy’s more complicated character for comparison. Elizabeth, when stating that
she understands Mr. Bingley “perfectly,” means that she does not understand Mr. Darcy
24
Chapter 5 Data Analysis (Total 81 PERs)
due to his complex character.
PER09.02 is an echoic allusion to character comparison of Mr. Darcy and Mr.
Bingley to illustrate how Mr. Bingley is simple, figuratively highlighting Mr. Darcy’s
intricate character. Elizabeth indicates her ability to understand Mr. Bingley’s motivations
in the literal meaning of PER09.02, ironically alluding to her lack of understanding Mr.
Darcy. In addition to this more immediate echo, Elizabeth also alludes to her own ideals
that she believes a person’s character to be important, and understanding characters is
considered a necessary condition for a relationship (Austen, 2003: 23). The dualities of
her figurative references to Mr. Darcy and literal mention of Mr. Bingley’s character
create the irony in both PER09.01 and PER09.02. The incongruity is to accentuate Mr.
Darcy’s intricate character, conveying that she can see through simple characters such as
Mr. Bingley but Mr. Darcy’s character is not easily understood because it is enigmatic.
Unaware that Elizabeth is figuratively referring to Mr. Darcy in her statement, Mr.
Bingley replies to the literal meaning of her utterances.
Mr. Bingley’s question in response to Elizabeth’s utterance PER09.01 reveals his
ignorance to her irony. From the lens of superiority theory, Elizabeth asserts her
intelligence through her “quickness” (Austen, 2003: 7) to ridicule others, in the present
case Mr. Bingley. According to superiority theory, she employs Socratic irony, from
Socrates’s questioning of supposed superior parties in order to entice them to reveal their
own faults. By having Mr. Bingley admit his character is simple and easily seen through,
her verbal irony escapes possible criticism by initiated H(s). Elizabeth induces Mr.
Bingley to reveal his character flaws openly through verbal irony. She mocks Mr. Bingley
to conceal her intended meaning that she does not understand Mr. Darcy’s character. Mr.
Bingley does not perceive the irony in Elizabeth’s utterance, for by being compared with
Mr. Darcy, he believes she attempted to sincerely compliment him, but claims he cannot
see it as such.
“I wish I might take this for a compliment; but to be so easily seen through I am
afraid is pitiful.” (Mr. Bingley)
(PER09.03) “That is as it happens.” (Elizabeth)
(PER09.04) “It does not follow that a deep, intricate character is more or less
estimable than such a one as yours.” (Elizabeth)
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Chapter 5 Data Analysis (Total 81 PERs)
(Austen 2003: 42)
In PER09.03, Elizabeth consents to Mr. Bingley that he is “easily seen through” to further
mock him. However in PER09.04 she sardonically reassures Mr. Bingley that despite his
permeable character, he is not less admirable than a person with an opaque character. This
is an allusion to Mr. Darcy’s character for character comparison, revealing her opinion
regarding Mr. Darcy’s moral character, namely that it is not “estimable.” Her verbal irony
in PER09.04 is an understatement when examined through echoic theory (see section
2.4.2 on echoic theory). The incongruity lies within her understated allusion to Mr.
Darcy’s intricate character. The illocutionary act of PER09.04 is to convey her opinion
and construct Mr. Darcy’s character as “intricate.” From the H’s uptake intended by the S,
Elizabeth, the perlocution lies in the incongruity she induces through an echoic allusion.
Elizabeth’s literal meaning in PER09.04 belies the figurative meaning, which is that
while pointing out Mr. Bingley’s simple character, he is held in higher regard than Mr.
Darcy, who has a more intricate character.
In PER09.04, Elizabeth’s banter is analyzed through superiority theory to show her
irony (see section 2.4.3.3 for a discussion of the banter principle). Her critique of Mr.
Bingley’s character is not sincere, but rather meant to ironically assess Mr. Darcy’s
character. Using a parallel contrast of Mr. Darcy and Mr. Bingley, she ridicules Mr.
Bingley as the object of her irony to covertly remark on Mr. Darcy’s moral character.
Elizabeth does not find fault in Mr. Bingley other than his simple mind (Austen, 2003:
16). She figuratively states that Mr. Darcy’s character is not as admirable as Mr.
Bingley’s, although Elizabeth regards Mr. Darcy’s character as more interesting
compared to Mr. Bingley’s. Elizabeth’s mother and Mr. Bingley do not perceive her
intentional irony, and Mrs. Bennet is mortified at Elizabeth’s display of boldness for
openly commenting on Mr. Bingley’s character, of whom they are fond.
“Lizzy,” cried her mother, “remember where you are, and do not run on in the
wild manner that you are suffered to do at home.” (Mrs. Bennet)
“I did not know before,” continued Bingley immediately, “that you were a
studier of character. It must be an amusing study.” (Mr. Bingley)
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Chapter 5 Data Analysis (Total 81 PERs)
(PER09.05) “Yes, but intricate characters are the most amusing .” (Elizabeth)
(PER09.06) “They have at least that advantage.” (Elizabeth)
(Austen, 2003: 42)
Mrs. Bennet’s and Mr. Bingley’s responses indicate they do not comprehend Elizabeth’s
irony. The perlocutionary act reveals the incongruity where Elizabeth is seemingly
commenting on Mr. Bingley’s character but covertly judging Mr. Darcy’s intricate
character as being advantageous. Indirectly, the illocutionary act therefore is intended to
convey Elizabeth’s assessment of Mr. Darcy’s character. In this dialogue, Elizabeth’s
irony is meant for herself and the reader, not intended for anyone other than Mr. Darcy.
Mr. Bingley appreciates Elizabeth’s keenness for studying the characters of those around
her, and remarks that it must be an interesting pastime for her. Elizabeth responds in
PER09.05 with an echoic allusion to Mr. Bingley and Mr. Darcy’s character comparison.
Her exceptional wisdom shows through her verbal irony to covertly pass judgment on Mr.
Bingley’s character, although it is seen as praise to others. She is not only constructing
Mr. Bingley as simple-minded but also alluding to her own wittiness inherent in her
character for the reader. In PER09.05, the incongruity explicates her allusion to Mr.
Darcy’s complex character, opposed to Mr. Bingley’s simple character; Elizabeth finds
Mr. Darcy more amusing because his character is more intricate.
PER09.06 is an extension of PER09.05, further juxtaposing Mr. Darcy and Mr.
Bingley’s characters. PER09.06 is also an echo of Elizabeth’s assessment of Mr. Darcy
and Mr. Bingley. She specifically stresses that Mr. Darcy’s only advantage is his amusing
character, a reference to her irony in PER09.04 that Mr. Bingley is not less estimable
because his character is simple. By claiming that intricate characters are “the most”
amusing, the irony is insinuating she is also an interesting, multifaceted person. She is
covertly indicating that Mr. Bingley does not have the advantage, as she sees him a
simpleton while Mr. Darcy who is complicated in nature is more intriguing to her. To
deduce, her judgments about other characters’ traits begin to reflect her own personality
at the same time. The duality of the irony in PER09.06 is realized through the
incongruities in that although Elizabeth refers to the word “they” to mean amusing
characters she is clandestinely referring to Mr. Darcy. She is referencing her opinion that
Mr. Darcy’s moral character has few merits other than his ability to provide Elizabeth
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Chapter 5 Data Analysis (Total 81 PERs)
with amusement, shown in his wit through irony. Elizabeth’s comparison and contrast of
Mr. Bingley and Mr. Darcy work to form Mr. Darcy’s character as she believes Mr. Darcy
lacks a moral character in comparison with others such as herself and Mr. Bingley.
In this dialogue, although Elizabeth is constructing Mr. Darcy’s and Mr. Bingley’s
characters through verbal irony, she is more importantly contrasting them with herself to
highlight her own character as she perceives it to be. Mr. Darcy’s retort to Elizabeth
asserts that she must not find much amusement because there are not many intricate
characters for her to study whilst residing in the country (Austen, 2003: 42). He suggests
that the country folk are less diverse than people from the city. Elizabeth refutes Mr.
Darcy’s opinion with her own, claiming “people themselves alter so much, that there is
something new to be observed in them for ever” (Austen, 2003: 43). Elizabeth’s comment
on the characters of people from the country is a foreshadowing of Mr. Darcy’s and her
own character development throughout the novel, for both she and Mr. Darcy will “alter”
themselves as the plot continues.
Mrs. Bennet boasts of Jane in front of Mr. Bingley, and tells a short anecdote of how
she thought Jane came close to receiving a marriage proposal when she was only fifteen,
but after the young man wrote her a poem the brief romance was over (Austen, 2003: 44).
Elizabeth interposes her mother’s conversation with irony to ridicule her, because she is
embarrassed by her mother’s behavior in front of Mr. Bingley, his family, and Mr. Darcy
(Austen, 2003: 43). Elizabeth cuts the story short to silence her mother, sarcastically
stating, “and so ended his affection” (Austen, 2003: 44). She facetiously exclaims that
she wonders who first began using poetry as a way to deflect romance, because Mrs.
Bennet told the story in such a way that the romance ended after the man wrote Jane
“some verses” of poetry (Austen, 2003: 44). Mr. Darcy sardonically contradicts
Elizabeth, arguing he believes poetry engenders romance and love.
(DIR09.01) “I wonder who first discovered the efficacy of poetry in driving
away love!” (Elizabeth)
(ASR09.03) “I have been used to consider poetry as the food of love [.]” (Mr.
Darcy)
“Of a fine, stout, healthy love it may. Everything nourishes what is strong
already.” (Elizabeth)
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Chapter 5 Data Analysis (Total 81 PERs)
(PER09.07) “But if it be only a slight, thin sort of inclination, I am convinced
that one good sonnet will starve it entirely away.” (Elizabeth)
(Austen, 2003: 44)
Elizabeth’s reply in PER09.07 is witty, with irony to ridicule both Mr. Darcy and her
mother. She is echoing her mother’s assumption that her daughters can marry men whom
they do not love, and vice versa. Through her verbal irony Elizabeth confirms her
superior emotional beliefs over Mrs. Bennet’s for what constitutes a suitable match for
marriage. In this dialogue, Elizabeth displays her own character through her verbal
ironies, portraying herself as witty to the readership. Her ironical performative utterances
increase as she continues her interaction with Mr. Darcy in the company of friends and
family, thus necessitating the construction of his character through verbal irony as a stark
contrast to Mr. Bingley.
5.2.3.2 Humility and Pride
This dialogue takes place in Chapter 10, when Mr. Darcy and Elizabeth are both in
the company of Mr. Bingley at Netherfield. The same setting also occurs as in the first
conversational analysis (section 5.2.3.1 for the Judgment dialogue), this section will
continue to discuss how the verbal irony of Mr. Darcy and Elizabeth constructs their
characters, especially Elizabeth, including her feminist perspectives. Elizabeth’s
perception of Mr. Darcy from their first encounter is still present—she believes him
unjustifiable and cold, lacking moral character. Mr. Darcy does not hold Elizabeth in high
esteem either, as she is of a lower social class and therefore dismissible in his eyes.
This scene begins with a conversation between Mr. Bingley’s sister, Caroline, and
Mr. Darcy, where Caroline continues to fawn over Mr. Darcy, complimenting him on his
writing. Mr. Darcy appears unaffected by Caroline’s doting, when Mr. Bingley enters the
conversation telling Caroline that her compliments for Mr. Darcy are insufficient. Upon
Caroline’s criticism of Mr. Bingley’s poor writing, Mr. Bingley admits that his writing is
inadequate because he thinks quicker than he is able to write down his thoughts.
Elizabeth compliments Mr. Bingley for his modesty:
(PER10.01) “Your humility, Mr. Bingley,” said Elizabeth, “must disarm
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Chapter 5 Data Analysis (Total 81 PERs)
reproof.” (Elizabeth)
(PER10.02) “Nothing is more deceitful,” said Mr. Darcy, “than the appearance
of humility.” (Mr. Darcy)
(PER10.03) “It is often only carelessness of opinion, and sometimes an indirect
boast.” (Mr. Darcy)
“And which of the two do you call my little recent piece of modesty?” (Mr.
Bingley)
(Austen, 2003: 47)
In PER10.01, Elizabeth compliments Mr. Bingley. This compliment seemingly directed at
Mr. Bingley is figuratively an underhanded slight directed at Mr. Darcy, because she
believes he lacks humility. Elizabeth’s praising of Mr. Bingley in order to criticize Mr.
Darcy is an evasive ironical utterance, for by praising Mr. Bingley’s humility she
provides Mr. Darcy a perspective from which to examine his own proud character.
Elizabeth’s assessment of Mr. Bingley’s humble character presents a contrast to Mr.
Darcy’s conceit, sardonically accentuating the differences in the two men.
Elizabeth’s tactics in PER10.01 serve as an interpretation of contrasting Mr.
Bingley’s inferior characteristics with Mr. Darcy’s supposedly superior characteristics.
Elizabeth’s verbal irony works to atone for Mr. Bingley’s faults; therefore she dissociates
these remarks from illocutions of disguised praise to create a perlocutionary effect of
opposition against Caroline and Mr. Darcy’s criticisms upon Mr. Bingley. Her intended H
is Mr. Darcy alone. In this ironical utterance, PER10.01, Elizabeth is contradicting Mr.
Bingley’s account that his own writing is quite poor compared to Mr. Darcy’s, which Mr.
Bingley means to be a compliment to Mr. Darcy. In this analysis, Mr. Darcy perceives the
perlocutionary act intended for him by Elizabeth, and goes on to ironically criticize
humility as a covert way of boasting, and gives examples of Mr. Bingley’s humble
boasting.
Mr. Darcy identifies himself as the index of Elizabeth’s judgmental claims and
responds with critical irony through a dissociative attitude. His response in PER10.02
allows Austen’s intentional use of irony to become apparent for her readership, proving
that Mr. Darcy does construe Elizabeth’s ironical criticism that is directed towards him
30
Chapter 5 Data Analysis (Total 81 PERs)
and understands Elizabeth is complimenting Mr. Bingley’s humility as a guise. Elizabeth
is seemingly praising Mr. Bingley and constructing Mr. Bingley’s character to be humble.
However, her intended meaning in PER10.01 is to be critical of Mr. Darcy for his
formidable pride. Mr. Darcy’s reply in PER10.03 deflects Elizabeth’s ironical criticism
towards him; instead he criticizes Mr. Bingley as a modest braggart. In PER 10.03, Mr.
Darcy uses intentional irony to satirize humility as humble boasting, inexplicitly
ridiculing Mr. Bingley to show off his pride and superior sense. Mr. Darcy believes his
pride is superior to Mr. Bingley’s supposedly feigned humility. Elizabeth and Mr. Darcy
both attempt to exert their wit in order to claim superiority over the other. Elizabeth
challenges Mr. Darcy’s criticism of Mr. Bingley with her own perspective of moral
superiority by scornfully alluding that Mr. Darcy has imposed upon Mr. Bingley a flawed
character of “rashness” and “obstinacy.”
(PER10.04) “You have only proved by this,” cried Elizabeth, “that Mr. Bingley
did not do justice to his own disposition.” (Elizabeth)
(PER10.05) “You have shown him off now much more than he did himself.”
(Elizabeth)
. . . .
(DIR10.01) “Would Mr. Darcy then consider the rashness of your original
intentions as atoned for by your obstinacy in adhering to it?” (Elizabeth)
(PER10.06) “You expect me to account for opinions which you choose to call
mine, but which I have never acknowledged.” (Mr. Darcy)
“Allowing the case, however, to stand according to your representation, you
must remember, Miss Bennet, that the friend who is supposed to desire his
return to the house, and the delay of his plan, has merely desired it, asked it
without offering one argument in favour of its propriety.” (Mr. Darcy)
(Austen, 2003: 48-49)
Elizabeth cynically defends Mr. Bingley in PER10.04 and PER10.05 as a way to
admonish Mr. Darcy. She claims that in his attempt to denounce Mr. Bingley’s humble
boasting nature, Mr. Darcy has made Mr. Bingley to be loftier than Mr. Bingley tried to
make himself appear. Her defiance of Mr. Darcy continues their battle of wits, making a
31
Chapter 5 Data Analysis (Total 81 PERs)
mockery of Mr. Bingley through irony as a way to counter-thrust against each other. Mr.
Darcy and Elizabeth simultaneously assert their superiority over Mr. Bingley and over
each other. She replies directly to Mr. Bingley, while her illocutions are intended for Mr.
Darcy as the H of her irony to indicate her rebuttal is focused towards Mr. Darcy. In these
utterances, Elizabeth retorts to Mr. Darcy with her reproach of Mr. Bingley, intended to
cynically replicate how Mr. Darcy criticizes his friend Mr. Bingley.
In this part of the dialogue, Elizabeth disapproves of Mr. Darcy’s opinion of Mr.
Bingley’s willingness to change his mind at a friend’s request. PER10.06 is a portrayal of
Elizabeth’s character, claiming that she is being judgmental of Mr. Darcy and giving
opinions which he has not even expressed, according to Mr. Darcy. Through the echoic
account, PER10.06 is an echoic allusion to Elizabeth’s opinionated character, specifically
stressing the word “opinions” to convey his feeling that she has already given many
opinions regarding Mr. Bingley’s character on the surface. Mr. Darcy is rhetorical as he
quickly points out these harsh judgments about Mr. Bingley’s fickleness to be Elizabeth’s
own opinions, not his. Applying superiority theory, Mr. Darcy is placing the supposedly
superior verbal ironist Elizabeth into his trap. He does not approve of Mr. Bingley’s
fickleness in decision-making; however, he provokes Elizabeth to vocalize these
judgments of Mr. Bingley. Mr. Darcy iterates these “opinions” are not his, obviously
expecting Elizabeth to take the blame. His echoic irony expresses his dissociative attitude
towards Elizabeth’s judgment of him, constructing her character as judgmental and
opinionated.
PER10.06 takes on the evasive or distancing function of irony because Mr. Darcy
seeks to deny that he holds this perception of Mr. Bingley; while he did not directly
articulate he believes Mr. Bingley was rash and obstinate, as Elizabeth says, his previous
criticisms of Mr. Bingley indicate that he believes Mr. Bingley to make decisions without
consideration, shown through his examples. Mr. Darcy is constructing Elizabeth’s
character as presumptuous for challenging him. His sense of superiority is clearly shown
through his verbal irony, particularly because she is of a lower social class and Mr. Darcy
is not accustomed to women, women of a lower social class especially, speaking to him
in the manner which Elizabeth does. She is bold to provoke him with accusatory remarks,
covertly disguised by irony. Only Mr. Darcy was able to detect the purpose of her verbal
irony in her assessment of Mr. Bingley’s character. Both Elizabeth’s and Mr. Darcy’s wit
32
Chapter 5 Data Analysis (Total 81 PERs)
and innovative nature shown through their characterization is the primary way they
communicate with each other, reinforcing their own community through verbal irony.
Elizabeth continues her ironical attack upon Mr. Darcy’s character, although she no
longer employs Mr. Bingley as the object of her irony. She further imposes opinions upon
Mr. Darcy by emphasizing what she perceives to be egregious flaws in his character,
claiming he does not give preference to his friends.
(PER10.07) “To yield readily—easily—to the persuasion of a friend is no merit
with you.” (Elizabeth)
(PER10.08) “To yield without conviction is no compliment to the understanding
of either.” (Mr. Darcy)
(PER10.09) “You appear to me, Mr. Darcy, to allow nothing for the influence of
friendship and affection.” (Elizabeth)
A regard for the requester would often make one readily yield to a request,
without waiting for arguments to reason one into it.” (Elizabeth)
(Austen, 2003: 49)
PER10.07 is identified as an ironical performative speech act and Elizabeth uses the
utterance to build up her perception of Mr. Darcy’s character. Elizabeth’s utterance
PER10.07 continues to implicitly challenge Mr. Darcy’s character as being inflexible and
harsh. She is using covert irony, challenging Mr. Darcy’s values for friendship. Using
superiority theory to interpret her irony, Elizabeth questions Mr. Darcy’s moral character
as he appears to be superior to everyone else for his much higher social station. However,
Elizabeth believes herself to be morally superior to Mr. Darcy, acting as a mentor to
provide a perspective which would allow Mr. Darcy to see himself as she has been
constructing his character—as a stoic, rigid person who hardly sees merits in friends.
PER10.07 is an overstatement cynically echoing Mr. Darcy’s proud, unfeeling character
that does not allow for the “persuasion” of a friend, which Elizabeth believes a character
flaw.
The incongruity is found within Elizabeth’s echoic allusion, which juxtaposes the
figurative and literal meanings of PER10.07. Elizabeth’s figurative meaning conveys Mr.
Darcy finds Mr. Bingley’s character flawed for his willingness to submit to the will of a
33
Chapter 5 Data Analysis (Total 81 PERs)
friend, although she literally states that Mr. Darcy would find no merit in doing this for a
friend. She is seemingly contrasting Mr. Darcy and Mr. Bingley’s characters through her
verbal irony. Her intended illocution in PER10.07 is to construct Mr. Darcy’s character
using an implicit performative speech act. In PER10.08, Mr. Darcy, reciprocating
Elizabeth’s irony, wryly accused Mr. Bingley of having no conviction, and acting on a
mere whim in order to contrast Mr. Bingley’s character with his own to display his
distinguished proud personality.
In PER10.08, Mr. Darcy echoes his opinion that Mr. Bingley does not have good
judgment, found in the conversation of women’s achievement where Mr. Darcy criticized
Mr. Bingley for his naïve belief that “all” young ladies were accomplished (Austen, 2003:
39). Mr. Darcy’s irony finds Mr. Bingley as the object, to point out their differences in
contrast to Elizabeth’s assessment of Mr. Darcy’s and Mr. Bingley’s characters. His
echoic allusion in PER10.08 reveals the incongruity in his utterance. He is constructing
his own character to be superior to Mr. Bingley’s, again using Mr. Bingley as the
scapegoat of his verbal irony. Both Elizabeth’s and Mr. Darcy’s irony can be explicated
according to superiority theory, as they use Mr. Bingley as the object of irony to argue
their points of view in terms of character qualities. After this comment, readers will
understand Mr. Darcy to be not only haughty but also stubborn in his vain attempt to
prove his opinion on a particular debated point. In this dialogue, his desire to be correct
and prove a point means criticizing the actions of a friend he believes to be weak.
Elizabeth, through performative speech acts shows her opinions of Mr. Darcy, and thus
exposes Mr. Darcy’s character faults.
In PER10.09, Elizabeth finalizes the dialogue by reiterating her stance regarding Mr.
Darcy’s moral character. She cynically claims Mr. Darcy “appears” to have no tolerance
for his friends to exert an influence on him. Through echoic theory, this is an ironical
overstatement. Elizabeth’s echo in PER10.09 alludes to the discrepancy in Mr. Darcy’s
comment upon Mr. Bingley’s character. Elizabeth is conveying through her figurative
meaning that Mr. Darcy does not hold his friends in high esteem so as to allow him to be
flexible. She is constructing Mr. Darcy’s character as detached and lacking empathy,
characteristics which can to be attributed to his arrogance. In this premise, Elizabeth and
Mr. Darcy continually find themselves holding conflicted opinions over different social
concerns. They each attempt to criticize the other indirectly by ridiculing Mr. Bingley to
34
Chapter 5 Data Analysis (Total 81 PERs)
affirm their opposing opinions. Specifically, a character comparison of Mr. Bingley and
Mr. Darcy aids in the construction of Mr. Darcy’s character from Elizabeth’s morally
superior perspective. The increase in number of performative speech acts in this premise
to 16 represents the ongoing characterization of Mr. Darcy and Elizabeth as they are
interacting more often through verbal irony.
5.2.4 Societal Disparity: 21 PERs
5.2.4.1 Social Exclusion
At this point in the disagreement dominant phase, Elizabeth has made several
attempts to provoke Mr. Darcy with her ironical jabs of how she perceives his character,
which is based upon their first encounter at the Meryton ball. In this dialogue, Elizabeth
is found constructing Mr. Darcy’s character with her ironical utterances, but one key
difference in this performative speech act and other speech acts analyzed before is that
this utterance is not directly constructing his character by putting forth her opinion of his
nature. The relevance of the echoic irony is not only found within the dialogue itself, but
also found in what one may call a shared knowledge between Elizabeth and Mr. Darcy
regarding the key differences in Caroline and Elizabeth.
This dialogue picks up in the last scene of Chapter 10, when members of the party
are enjoying a stroll at Netherfield. Caroline and Mr. Darcy are walking together, and she
begins to tease Mr. Darcy about marrying Elizabeth. Caroline became jealous of
Elizabeth while watching Mr. Darcy invite Elizabeth to dance with him. Caroline makes a
sarcastic remark about having a portrait made of Elizabeth when she and Mr. Darcy are
married, and how a painter would have difficulty in depicting her “beautiful eyes”
(Austen, 2003: 51). Mr. Darcy responds by saying the beauty of Elizabeth’s eyes would
be easy to capture, but not their lively expression, when they happen upon Elizabeth and
Mrs. Hurst also walking along the lane. This reference to Elizabeth’s beautiful eyes was
Caroline’s attempt to mock Mr. Darcy, because he stated earlier that he had “been
meditating on the very great pleasure which a pair of fine eyes in the face of a pretty
woman can bestow” (Austen, 2003: 27). This statement from Mr. Darcy lets the reader
know he is beginning to have affection for Elizabeth; a much different sentiment can be
seen now than in the beginning where Mr. Darcy insisted that her beauty could not
warrant his attention. At present, Mr. Darcy has become in some way intrigued by
35
Chapter 5 Data Analysis (Total 81 PERs)
Elizabeth in her refusal of his invitations to dance, however his character has not
changed. He continues to put on airs of superiority around Elizabeth to constantly remind
her of their differences, and this behavior does not go unnoticed by Elizabeth.
Caroline was concerned she had been overheard, and quickly made conversation,
stating she was unaware that Mrs. Hurst and Elizabeth had planned a walk. Mrs. Hurst
jokingly chided Caroline for neglecting to inform her of the walk with Mr. Darcy; she
then left Elizabeth’s side to join Mr. Darcy and Caroline, leaving Elizabeth alone. When
Mr. Darcy realized there was no room for Elizabeth in the lane, he suggested they move
to the avenue:
“This walk is not wide enough for our party. We had better go into the avenue.”
(Mr. Darcy)
(DIR10.06) “No, no; stay where you are.” (Elizabeth)
(PER10.12) “You are charmingly grouped, and appear to uncommon
advantage.” (Elizabeth)
(ASR10.03) “The picturesque would be spoilt by admitting a fourth.”
(Elizabeth)
(EXP10.01) “Good-bye.” (Elizabeth)
(Austen, 2003: 52)
Mr. Darcy’s kind gesture to include Elizabeth was rejected with her banter, ironically
portraying Mr. Darcy’s character in PER10.12. Insisting he belongs with Mr. Bingley’s
sisters due to their higher social standing, Elizabeth purposefully excludes herself from
the group and bids them farewell. PER10.12 is an ironical utterance aimed at Mr. Darcy
and Caroline, building Mr. Darcy’s character based upon an observation regarding the
pairing up of the two. Mr. Darcy pays little attention to Caroline despite her attempts to
gain his affections. It is Elizabeth whom Mr. Darcy finds fascinating. PER10.12 is an
echo which reveals Elizabeth’s real attitude toward Mr. Darcy and Mr. Bingley’s sisters,
for they are all of a higher social class than she. The juxtaposition of Mr. Darcy, Caroline
and Mrs. Hurst against Elizabeth on the outing is symbolic of the invisible division
between them; Elizabeth is of a lower social standing and therefore does not belong with
the other three. In PER10.12, Elizabeth’s dissociative attitude towards Mr. Darcy is
36
Chapter 5 Data Analysis (Total 81 PERs)
apparent, portraying her cynical views of Mr. Darcy attempting to include Elizabeth
where he believes she does not belong. Her ironical performative speech act is bringing
into existence the notion that the three characters (Mr. Darcy, Caroline and Mrs. Hurst)
are grouped accordingly because all three are of the same social class and therefore hold
the same qualities according to Elizabeth. Thus she is portraying them as all believing
they are superior to her, and this is why they treat her as an outsider. More precisely, she
is creating Mr. Darcy’s character in a comparison to Mrs. Hurst and Caroline, who have
excluded Elizabeth from their company and made no attempt to rectify their
offensiveness.
In the utterance PER10.12, You refers to Mr. Darcy, Caroline and Mrs. Hurst but
more specifically to Mr. Darcy and Caroline, and their connection through a shared social
class. According to Elizabeth’s perception of Mr. Darcy’s character, and reflecting back to
Mr. Darcy’s actual attitude towards Elizabeth’s inferiority, he should be paired with a
woman such as Caroline, who desperately attempts to please him. Despite Elizabeth’s
notion that Mr. Darcy and Caroline are better suited for each other and therefore the
grouping is fitting, Mr. Darcy has continually asked Elizabeth to dance instead of
Caroline. Thus, this is another allusion for the reader which can be inferred from
PER10.12, because Elizabeth is echoing her previous rejections of Mr. Darcy’s
invitations to dance. Elizabeth believes that Caroline and Mr. Darcy suit each other well
due to their similarities in character and social class, both being proud with their superior
social positions in comparison to Elizabeth. She uses verbal irony to construct Mr.
Darcy’s arrogant character and she ironically isolates herself to proclaim her self-
autonomy, challenging and ridiculing social norms. She is seemingly turning down Mr.
Darcy’s suggestion for her to walk with him, Caroline and Mrs. Hurst, but Elizabeth is
also rejecting Mr. Darcy in a larger sense.
What is more ironical in PER10.12 is the last part of the utterance, “and appear to
uncommon advantage.” These words literally express that Caroline, Mrs. Hurst and Mr.
Darcy are an excellent congregation, as the three share the qualities which Elizabeth
despises. She claims that she would spoil the matchup were she to join the other three.
Elizabeth is echoing the shared knowledge between them all that Elizabeth does not
belong with them in the larger sense, for due to their social class differences Elizabeth
will always be considered an outsider despite her presence at social gatherings.
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Chapter 5 Data Analysis (Total 81 PERs)
Elizabeth’s dissociative attitude of social exclusion is apparent; she uses this intentional
irony as an excuse to mask her disinterest in joining the party.
Elizabeth had determined her feelings about Mr. Bingley’s sisters earlier in the story
and also perceived their own dispositions to be near that of Mr. Darcy’s. Elizabeth’s
words and thoughts alert the reader to her acknowledgement of dislike for the two sisters,
revealing her thoughts on the way they treat everyone in a “supercilious” manner, even
Jane whom they appear to have taken a liking to (Austen, 2003: 22). Elizabeth’s
characterization continues as her scorn and contempt for Mr. Darcy cannot be alleviated
by his misplaced attempt at kindness or courtesy. At present, Elizabeth remains convinced
that his request to make room for Elizabeth to join the party is merely to be polite on the
surface.
While the reader is aware that Mr. Darcy’s feelings have begun to change, to
Elizabeth he remains a man unworthy of her attention. Elizabeth’s recent snubbing of Mr.
Darcy (the refusal to dance with him twice and this present refusal to join him and Mr.
Bingley’s sisters on a walk) makes the reader aware of her autonomy and independent
way of thinking. Her fixation on discovering the true characters of people, revealing her
own willful character, is what keeps her intrigued by Mr. Darcy, in spite of her contempt
for the character she perceives him to have. It is clear to the reader that Mr. Darcy and
Elizabeth are far more alike than they would admit: both enjoy antagonizing the other and
engaging in banter through verbal irony, whether explicitly or implicitly, to discover and
construct their identities. Both Mr. Darcy and Elizabeth also remain proud and refuse to
allow their feelings towards the other to be modified. Thus, Mr. Darcy remains off-put
towards Elizabeth and prejudiced because of her social status, and Elizabeth remains
scornful of Mr. Darcy because of his intimidating outlook and the airs he puts on because
of it.
5.2.4.2 Ridicule
This dialogue is found in Chapter 11, where Elizabeth and Mr. Darcy are still at
Netherfield with Mr. Bingley and Caroline. This dialogue shows further characterization
of both Elizabeth and Mr. Darcy. More specifically, we analyze Elizabeth’s character in
contrast to Caroline’s to show Elizabeth’s feminist nature. Chapter 11 finds Caroline
again the following night attempting to attract Mr. Darcy’s attentions. As the plot
38
Chapter 5 Data Analysis (Total 81 PERs)
continues, Caroline begins fawning over Mr. Darcy to get his attention. We will analyze
how this fawning can be compared with Elizabeth’s feminist characteristics and how
Caroline uses a typical style of attracting men in Regency-era England. Elucidating these
comparisons can also help the reader view gender equality and feminist perspectives that
pertain to Elizabeth’s performative speech acts which work to construct her own
character as well as her attempt to mold Mr. Darcy’s moral character. This is where our
conversation begins, with Caroline and Elizabeth discussing whether they can find any
fault with Mr. Darcy’s character, and they temporarily team up to verbally have a go at
Mr. Darcy. Caroline always seeks to play Mr. Darcy’s favorite by pleasing him, saying
what he wants to hear. Elizabeth thus states that Mr. Darcy is not to be teased or laughed
at, advocating that his character is irreproachable due to his social class and that she is
following those social expectations to not mock him. Caroline continues her attention
seeking from Mr. Darcy; she realizes it is ineffective and changes tactics when she sees
Mr. Darcy is paying her no attention and asks Elizabeth for company and conversation,
knowing Mr. Darcy will then pay attention to Elizabeth.
“Teaze calmness of temper and presence of mind! No, no; I feel he may defy us
there. And as to laughter, we will not expose ourselves, if you please, by
attempting to laugh without a subject. Mr. Darcy may hug himself.” (Caroline)
(PER11.01) “Mr. Darcy is not to be laughed at!” cried Elizabeth. (Elizabeth)
(PER11.02) “That is an uncommon advantage, and uncommon I hope it will
continue, for it would be a great loss to me to have many such acquaintance .”
(Elizabeth)
(PER 11.03) “I dearly love a laugh.” (Elizabeth)
(Austen, 2003: 56)
PER11.01 notes that the allusion to a character to demonstrate the personality and
behaviors of another is performative. As Worthen notes the performative speech act is “a
specific vision of social order” from where the identities of the characters themselves are
constructed and become existent (1998: 1097). PER11.01 can be seen through the echoic
theory of verbal irony, because Elizabeth is postulating for Mr. Darcy that he is not to be
laughed at, which echoes Mr. Darcy’s conception of social class and appropriate behavior
39
Chapter 5 Data Analysis (Total 81 PERs)
towards someone of his social standing. However, Elizabeth is being ironical as this
statement is quite infelicitous due to Elizabeth’s true feelings regarding Mr. Darcy and his
views on class etiquette. Elizabeth does not adhere to conventional social norms, but she
is caught speaking for Mr. Darcy, as he believes someone of his superior class should not
be laughed at by anyone. Elizabeth insincerely notes how she herself is complying with
the expectations of Regency-era norms. In PER11.02 she ironically states that it would be
a great loss to her to not have the acquaintance of that class. Thus, her irony echoes the
era’s notions of social class and gender stereotypes, as well as parodies this stereotype of
that social stratum by making a rail of it through mockery. The readers can take note how
they may not get the irony in the conversation due to being unaware of the gender norms
in Regency England. PER11.03 continues the thought from PER11.02, emphasizing
Elizabeth’s figurative meaning that she is glad Mr. Darcy is her acquaintance so that she
may ridicule him.
The utterance PER11.02 has different contexts for the uninitiated H (Caroline)
versus the initiated (Mr. Darcy), leading to Caroline taking a different role in the
conversation, as she is uninitiated to the verbal irony and thus lacks uptake of the
perlocutionary act of the trope intended for Mr. Darcy. Caroline also states that they
cannot laugh at Mr. Darcy’s social- and gender-based superiority. She dotes on Mr. Darcy
in an attempt to get his attention and shows her lack of independence from her societal
entrapment; she tries to win Mr. Darcy’s affections and approval whether her means are
sincere or not. Essentially, she acquiesces to males who are of Mr. Darcy’s demeanor and
social status. In contrast we can see how Elizabeth’s independence and feminist
perspectives within her character are constructed through verbal irony as she is
simultaneously contrasting herself with Caroline in her utterances PER11.01 and
PER11.02. Elizabeth acts in direct obstinacy to Caroline’s gentrified thinking; Elizabeth
is performing the act of stating that she is neither intimidated by Mr. Darcy nor the
misogynist societal corral that women were confined to at that time. PER11.02 includes a
direct echo of Elizabeth in when she grouped Mr. Darcy, Caroline and Mrs. Hurst
together as having an “uncommon advantage” to reiterate her separation from them
(Austen, 2003: 52). Not only does Elizabeth accentuate their class differences, but
establishes her moral superiority over both Caroline and Mr. Darcy in order to affirm her
dissenting societal outlook.
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Chapter 5 Data Analysis (Total 81 PERs)
Incongruity between the literal and figurative meanings can be analyzed in light of
Elizabeth’s echo of social norms in PER11.01 and PER11.02. Elizabeth’s irony in
PER11.02 is also working to construct Mr. Darcy’s character in a contrasting view to that
held of Mr. Darcy by Caroline. Elizabeth’s literal meaning is that Mr. Darcy is in a
position so that he cannot be ridiculed by others, especially those of a lower station.
However, her figurative meaning conveys her disregard of the social norms of Regency-
era England through parody. She is creating duality in her verbal irony, covertly stating
Mr. Darcy’s character to be less noble than he believes he is, and that he is not above
being ridiculed. The discrepancies in PER11.01 and PER11.02 reveal Elizabeth’s irony,
which can be examined through superiority theory for her seeming inability (due to her
class and female role in society) but figurative capability (due to her wit of verbal irony
and superior moral standards) of ridiculing Mr. Darcy. Her statement cynically reveals
that she “laughed at” Mr. Darcy while her literal meaning states “Mr. Darcy is not to be
laughed at!”
To continue with the plot, it is noted that Mr. Darcy is enthralled with Elizabeth
revealed through her performative speech acts. PER11.01 and PER11.02 have begun to
change his views toward her and construct his character to have a more positive view of
gender roles. Mr. Darcy’s true interest lies in that he is intrigued and smitten with
Elizabeth, so rather than dance the same old dance, he affirms Caroline’s quip by stating
“Miss Bingley has given me credit for more that can be” (Austen, 2003: 56) in order to
continue on with Elizabeth as he is titillated by her. Thus as Mr. Darcy and Elizabeth
banter with each other, Mr. Darcy clarifies:
(PER11.04) “The wisest and the best of men—nay, the wisest and best of their
actions—may be rendered ridiculous by a person whose first object in life is a
joke.” (Mr. Darcy)
(Austen, 2003: 56)
Mr. Darcy’s uptake of Elizabeth’s irony is illustrated in the force behind the illocutionary
act in PER11.04. Mr. Darcy states that any person who makes it a goal to ridicule others
may render the wisest and best men ridiculous; however his figurative meaning is masked
in his patronizing assessment of Elizabeth. The perlocutionary act he intends Elizabeth to
construe is despite her efforts, he is above her ridicule, for he considers himself among
41
Chapter 5 Data Analysis (Total 81 PERs)
the “wisest and best of men.” He emphasizes their stark contrast from his perspective,
affirming his social outlook regarding her lower social station. The infelicities in
PER11.04 are seen in the very fact that he is jesting as he professes his disdain for such
frivolity. Recall that notions of muted criticism uttered within socially acceptable bounds
display the irony in its function as a distancing mechanism. Hutcheon confers that such
utterances are a detachment on the part of the ironist and carry negative nuances, as it can
suggest a desire for control. The distancing function also works to create a sense of social
cohesion, and to reinforce a sense of social grouping, seen in PER11.04 for Mr. Darcy to
reinforce the norms of a society in which he is superior (Hutcheon, 1992: 230).
Mr. Darcy first states, “The wisest and the best of men” followed by, “may be
rendered ridiculous by a person whose first object in life is a joke.” We can see that Mr.
Darcy is first talking about men, and then refers to how men in particular may be
rendered ridiculous by a person. Secondly, Mr. Darcy is stating “person” in a genderless
case and referring to women in general in that Elizabeth could take the role of the
“person” he is talking of. By leaving the latter part of the statement ambiguously
genderless, Mr. Darcy is creating a distancing mechanism as a function of verbal irony
that is reinforcing the social cohesion of their current gender relationships and norms, i.e.
Regency England. Mr. Darcy’s illocutionary act is directed to construct Elizabeth’s
character through its incongruities revealed through his perlocutionary act for Elizabeth’s
uptake. He is echoing Elizabeth’s irony in PER11.01 and PER11.02 that he could not be
laughed at, by figuratively claiming that Elizabeth could indeed laugh at him because her
goal is to ridicule him. Through echoic theory, PER11.04 is an ironical overstatement of
Elizabeth’s intentions, that her “first object in life is a joke.”
Mr. Darcy is also insincere in his statement because he is one of these men, who
“may be rendered ridiculous” and is in fact prone to being charmed by these
idiosyncrasies of Elizabeth’s humorous undertakings that he proclaims to be above.
According to the echoic account, Mr. Darcy is alluding to his high social stance, showing
his uptake of Elizabeth’s irony. He is addressing her claim in PER11.01 that Mr. Darcy
cannot be laughed at; he can be found through PER11.04 to dissociate himself with her
claim by his own assertion that he can be laughed at because Elizabeth does indeed seize
every opportunity she can to ridicule him. The dissociative attitude also pertains to the
literal meaning of her second utterance PER11.02, that to have too many acquaintances
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Chapter 5 Data Analysis (Total 81 PERs)
such as Mr. Darcy who she is unable to ridicule would be a loss to her because she loves
to laugh. His statement in PER11.04 is a direct challenge to PER11.02 because the irony
in PER11.02 is that in fact Elizabeth would enjoy having more acquaintances such as Mr.
Darcy to ridicule. It is noted that Mr. Darcy is enthralled with Elizabeth, and PER11.01
and PER11.02 have begun to change his views toward her and construct his character to
have a more positive view of gender roles. However we can see that he is still using
verbal irony as a distancing mechanism and is distancing himself to solidify the social
cohesiveness of Regency England’s gender views. The reader unaware of the irony
behind the guise is therefore not privy to what or why their banter is ironical.
Elizabeth and Mr. Darcy both employ verbal irony as a principal form of character
construction, and their interactions in this dialogue are characterized by banter. Elizabeth
continues in jest, retorting with irony to convey to Mr. Darcy she has understood his jab
at her in PER11.04.
“Certainly," replied Elizabeth—"there are such people” (Elizabeth)
(PER11.05) “but I hope I am not one of them .” (Elizabeth)
(PER11.06) “I hope I never ridicule what is wise and good.” (Elizabeth)
(PER11.07) “Follies and nonsense, whims and inconsistencies, do divert me, I
own, and I laugh at them whenever I can.” (Elizabeth)
(PER11.08) “But these, I suppose, are precisely what you are without.”
(Elizabeth)
(Austen, 2003: 56)
In PER11.05 and PER11.06, Elizabeth uses verbal irony to construct her own character.
The emphasis on the word “them” is a vocal cue to relay that she understands those
people to whom Mr. Darcy was referring is in fact a covert reference to Elizabeth. By
stating she hopes to “never ridicule what is wise and good” she creates the inconsistency
through the dual layers of meaning. Thus, with her statement of hoping that she is not one
of those people, she incongruously denotes she is one of those people and enjoys such
pastimes and amusements. As such, Elizabeth’s uptake of Mr. Darcy’s verbal irony
shapes her responsive echoic ironical utterances, which as a factor of the perlocutionary
act in her uptake in turn hold their own illocutionary force in response to his illocutionary
43
Chapter 5 Data Analysis (Total 81 PERs)
act. Those returned illocutionary forces are a form of banter that allude to her societal
views of those who hold a high social standing, an example of how the irony can be seen
through echoic theory. In addition PER11.05 and PER11.06 allude to Mr. Darcy’s prior
ironical utterances, thus eliciting this relationship between Mr. Darcy and Elizabeth as a
site for the perlocutionary event of verbal irony to occur.
Literally, in PER11.06 Elizabeth appears to agree that she does not want to ridicule a
person who is “wise and good.” However, by disagreeing with Mr. Darcy’s own character
assessment of himself, the figurative meaning of her utterance echoes Mr. Darcy’s
proclamation of his own wisdom and goodness. The figurative and literal meanings draw
further incongruity in Elizabeth’s hoping. She and Mr. Darcy are both aware that she is
one of those people who loves to ridicule others. As she echoes Mr. Darcy’s assumption
that he is wise and good, she divulges her own opinions that social class and demeanor
are not above ridicule, although Mr. Darcy believes he should not be subjected to
mockery from a woman, especially a woman of lower social standing.
Through verbal irony, Elizabeth affirms her moral character over Mr. Darcy’s. She
ridicules Mr. Darcy to show him the error of his character, that he believes he is above
everyone else, to which he is blind. Mr. Darcy is unaccustomed to Elizabeth’s behavior
towards him, as his station normally warrants a certain amount of regard from others,
especially of lower social standing. In PER11.07, Elizabeth ironically admits that her
attention is regularly given to “follies and nonsense” given her love of ridicule. However,
according to echoic theory of verbal irony this is an ironical understatement. Elizabeth is
not merely diverted by the idiocies of others, but rather actively seeks them out to ridicule
and become the object of her irony. PER11.08 is another ironical performative speech act
that constructs Mr. Darcy’s character. She claims that Mr. Darcy is without “follies and
nonsense, whims and inconsistencies,” meaning he is safe from being ridiculed; yet
incongruously, she is simultaneously ridiculing him by claiming he is aloof and
unyielding. Incongruity theory explicates the reference to Mr. Darcy, as her figurative
meaning is in contrast to her literal meaning. In Elizabeth’s irony, she constructs Mr.
Darcy as characterized by these aspects which can be ridiculed, emphasizing her opinion
that Mr. Darcy is equal to others.
Mr. Darcy responds ironically to Elizabeth that no one may be without these
character flaws. He exerts his superior stance by distancing himself from others in the
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Chapter 5 Data Analysis (Total 81 PERs)
claim that he is above character flaws which “anyone” else may find impossible to avoid.
(PER11.09) “Perhaps that is not possible for anyone.” (Mr. Darcy)
(PER11.10) “But it has been the study of my life to avoid those weaknesses
which often expose a strong understanding to ridicule.” (Mr. Darcy)
(PER11.11) “Such as vanity and pride.” (Elizabeth)
“Yes, vanity is a weakness indeed.” (Mr. Darcy)
(PER11.12) “But pride—where there is a real superiority of mind, pride will be
always under good regulation.” (Mr. Darcy)
(Austen, 2003:56)
Through his utterances PER11.09 and PER11.10, Mr. Darcy is reinforcing Elizabeth’s
character portrayal of him, by claiming precisely what she already knows: he is prideful
because believes he is unaffected by the flaws which mar the moral character of others.
His ironical performative utterance PER11.09 reveals through incongruity his opinion
that he is above her ridicule. He does not believe himself to contain these qualities of
“follies and nonsense” which Elizabeth is so fond of mocking. The infelicity is found
between his use of the word “anyone” and his belief that he himself is not subject to the
character flaws that Elizabeth ironically accuses him of having. The incongruity in
PER11.10 reveals Mr. Darcy’s irony, for he believes it is possible for him to be without
those “weaknesses.” His retort continues the banter that Elizabeth began with her own
irony projected towards Mr. Darcy’s character. He continues by claiming that despite the
impossibility to be without some of these character deficiencies, he has determined to
evade any characteristics which may make him a target of ridicule. PER11.10 is overt
irony which ironically conveys that he does not need to “study” in order to be above her
ridicule, because his social station naturally places him beyond those “weaknesses.” He
emphasizes that it “has been the study of my life” to convey to Elizabeth that he is certain
he cannot possess the character flaws she accuses him of having.
Elizabeth’s ironical retort in PER11.11 echoes Mr. Darcy’s first encounter with
Elizabeth at the Meryton ball when Mr. Darcy “vainly” slighted her for her appearance
45
Chapter 5 Data Analysis (Total 81 PERs)
and his “pride” compared to Mr. Bingley’s humility for writing at Netherfield (Austen,
2003: 47). Through irony, her intended meaning is to convey she believes these two
“weaknesses” are the prime components of Mr. Darcy’s character. She and Mr. Darcy
engage in banter over his character while Elizabeth attempts to shed light on Mr. Darcy’s
flawed moral character. The incongruity in PER11.11 is found in the implication of the
utterance. She implies that Mr. Darcy does fall prey to vanity and pride, however her
literal meaning does not directly accuse Mr. Darcy of these because she is providing
examples of weaknesses that Mr. Darcy claims he manages to avoid.
Elizabeth and Mr. Darcy both battle with their opinions, as they believe themselves
to be superior to the other, albeit in different ways. Elizabeth considers herself morally
superior to Mr. Darcy, while in fact his own social superiority instills in him the prideful
demeanor with which he approaches situations. He agrees with Elizabeth that vanity is a
weakness, indicating that he himself is not vain, however in PER11.12 Mr. Darcy does
admit to his own pride. Mr. Darcy wryly believes pride is not a weakness of his character
due to the superiority of his mind. His irony in PER11.12 is an understatement, because
his literal meaning refers to no person in particular, while figuratively he is referencing
himself as being able to control pride in character and therefore it is not considered a
negative aspect of his character. Mr. Darcy opposes Elizabeth’s opinion through his irony,
affirming his stance that her perceived judgment of him as vain is incorrect, yet what she
considers a character flaw he considers pride as an asset. Mr. Darcy is vehemently
fighting Elizabeth’s construction of his character in this dialogue through his ironic
banter.
Caroline, still present in the dialogue, is uninterested in Elizabeth and Mr. Darcy’s
banter due to her lack of uptake of their verbal ironies and seeks to end their
conversation, questioning Elizabeth’s assessment of Mr. Darcy’s character. Elizabeth
replies with ironical performative speech acts which construct Mr. Darcy’s character.
“Your examination of Mr. Darcy is over, I presume,” said Miss Bingley; “and
pray what is the result?” (Caroline)
(PER11.13) “I am perfectly convinced by it that Mr. Darcy has no defect.”
(Elizabeth)
(PER11.14) “He owns it himself without disguise.” (Elizabeth)
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Chapter 5 Data Analysis (Total 81 PERs)
(Austen, 2003: 56)
Elizabeth claims to be “perfectly convinced” that Mr. Darcy is unaffected by
character flaws in PER11.13. The incongruity in her utterance lies in its insincerity, for
Elizabeth is not “perfectly convinced” Mr. Darcy does not have a flawed character. In
PER11.14, Elizabeth continues the irony by furthering her argument that Mr. Darcy is
without defects to his character. The irony exudes her perceived superior stance to Mr.
Darcy, and she ridicules him to avow her moral character over his. Through irony,
Elizabeth alludes to Mr. Darcy’s “disguise” of a gentleman. Incongruity theory explicates
the echo in Elizabeth’s verbal irony PER11.14. Irony is found upon the resolution of the
statement, where Elizabeth utters an opinion which contradicts her true opinion of Mr.
Darcy, in that Elizabeth believes Mr. Darcy to put forth an appearance of pride to defend
his flaws and prejudiced character. Elizabeth’s irony effectively constructs Mr. Darcy’s
character to the readership, conveying a figurative meaning which imposes upon Mr.
Darcy a character that does contain defects. The most prominent defects are perceived by
Elizabeth to be his “vanity and pride,” and he disputes her allegation in a display of his
proud nature, owning that he is not subject to “weaknesses.” Elizabeth uses his attempt at
humility to further goad him into admitting faults, for her to continue the attack of
ridicule against Mr. Darcy’s moral character.
Mr. Darcy admits to having faults, in a clear defiance to Elizabeth’s irony in
PER11.13 and PER11.14:
“No,” said Mr. Darcy, “I have made no such pretension. I have faults enough,
but they are not, I hope, of understanding. My temper I dare not vouch for. It is,
I believe, too little yielding—certainly too little for the convenience of the
world. I cannot forget the follies and vices of others so soon as I ought, nor their
offenses against myself. My feelings are not puffed about with every attempt to
move them. My temper would perhaps be called resentful. My good opinion
once lost, is lost forever.”
(Austen, 2003: 56-57)
Mr. Darcy defends his position by claiming that Elizabeth imposes her opinion upon him
by stating he had “made no such pretension.” Mr. Darcy is echoing himself from an
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Chapter 5 Data Analysis (Total 81 PERs)
earlier dialogue where he first accuses Elizabeth of claiming false opinions which she
attributes to Mr. Darcy (Austen, 2003: 48). From this candid display of what Mr. Darcy
perceives to be his own flawed moral character is evidence of Elizabeth’s influential
power through her verbal irony. His sincerity in admitting his character flaws elicits an
ironical response from Elizabeth.
(PER11.15) “That is a failing indeed !” cried Elizabeth. (Elizabeth)
(PER11.16) “Implacable resentment is a shade in a character .” (Elizabeth)
(PER11.17) “But you have chosen your fault well.” (Elizabeth)
(PER11.18) “I really cannot laugh at it .” (Elizabeth)
(COM11.01) “You are safe from me.” (Elizabeth)
(Austen, 2003: 57)
In PER11.15 Elizabeth cries that his admission of not being able to forgive those who fall
out of his good graces is certainly a character flaw. Her vocal emphasis on “that” stresses
her agreement of his character faults, yet it has an element of disassociated attitude as if
she was unaware he had any character flaws. PER11.15 is an understatement, for
Elizabeth mockingly voices her agreement with Mr. Darcy, gloating in his confession to
having a fault. In utterances PER11.15 and PER11.16, Elizabeth is affirming her moral
stance, that Mr. Darcy is not superior to everyone else. She mocks his confession in
delight, for he has fallen into her entrapment. Her feigned agreement through covert irony
further expresses her perceptions of his moral character, that she believes him to be
flawed. Through analysis with echoic theory, PER11.16 is an ironical understatement
with the word “shade.” Shade implies a slight character flaw, one of little importance.
Elizabeth’s utterance contains an incongruity which reveals the irony: literally, Elizabeth
means Mr. Darcy only has one, small, character flaw, however her intended meaning is
that Mr. Darcy has only begun to delve into the moral deficiencies of his character. Her
irony is displayed in a patronizing manner of agreement, a characteristic explained
through superiority theory. Elizabeth ridicules Mr. Darcy in order to claim her superior
moral stance, iterating that his admittance of being flawed corroborates her opinion of
Mr. Darcy.
In PER11.17, Elizabeth continues her patronization of Mr. Darcy, using irony to
convey an intended meaning. To Elizabeth, she constructs Mr. Darcy’s character to have a
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Chapter 5 Data Analysis (Total 81 PERs)
blamable flaw. In Elizabeth’s ironic tone, Mr. Darcy has “chosen” his fault, in other
words he has purposefully selected a characteristic which he perceived to be a flaw. In
PER11.17, Elizabeth constructs Mr. Darcy’s character through verbal irony to echo his
own perceptions of himself, and his egotistical nature. Her construction of his character
reflects Mr. Darcy’s belief that he is superior, satirizing his ability to choose what is and
what is not considered a character flaw, reinforcing his irony that his pride was not a
weakness of character, but rather a strength. PER11.18 carries on her ironical tirade of
ridiculing Mr. Darcy. She states that she “cannot laugh” at his character flaw, echoing her
previous admittance to being diverted by “follies and nonsense, whims and
inconsistencies” to laugh at them. Elizabeth cannot literally laugh at Mr. Darcy as he
admits his fault to her, although she may still ridicule him through irony. She mocks Mr.
Darcy, insincerely saying what he would want to hear from her. According to superiority
theory, Elizabeth mocks Mr. Darcy to show him that he is not above ridicule despite his
social status and determination to avoid character flaws. The incongruity in her statement
is that she can in fact mock him; the word laugh is emphasized because she does not
mean she would literally laugh at him. An incongruity exists within PER11.18; the
figurative meaning conveys to Mr. Darcy that his moral character is not above ridicule,
and makes her point to mock him to shape her opinion of his character.
Mr. Darcy retorts with his own opinion that no person can be without some flaw that
cannot be remedied.
“There is, I believe, in every disposition a tendency to some particular evil—a
natural defect, which not even the best education can overcome.” (Mr. Darcy)
(Austen, 2003: 57)
His admittance to “every disposition” conveys that he is influenced by Elizabeth to admit
that he is not without defects. Elizabeth’s ironical performative utterances grow in
number in this dialogue, and their effect on Mr. Darcy is seen through his sincerity, a
brief lapse from his typical arrogant nature. It is also necessary to point out Mr. Darcy
admits his faults to Elizabeth and she does indeed have a great impact on his moral
character. This part of the dialogue is also observed and worth stressing that Mr. Darcy
constructs his own character without using irony.
However, Elizabeth, dissatisfied with Mr. Darcy’s admitting to his own faults,
49
Chapter 5 Data Analysis (Total 81 PERs)
confronts him with further criticism. Because Mr. Darcy has not shown kindness to
Elizabeth, nor his friend Mr. Bingley since she was introduced to him, she intends to
illustrate one of his major character flaws through ridicule.
(PER11.19) “And your defect is to hate everybody .” (Elizabeth)
(PER11.20) “And yours,” he replied with a smile, “is willfully to misunderstand
them.” (Mr. Darcy)
(Austen, 2003: 57)
Elizabeth uses an ironical overstatement PER11.19 to describe Mr. Darcy having a
character that hates “everybody.” Certainly, Mr. Darcy does not hate every person but
rather Elizabeth is using an overstatement to emphasize Mr. Darcy’s superior nature
overlooking others, even his friends. The irony is revealed through the incongruence in
the statement with her use of “everybody;” specifically she emphasizes that Mr. Darcy
dislikes her. The duality also lies in her verbal irony that he hates “everybody” which is
an echoic allusion because in fact everybody dislikes Mr. Darcy, evidenced in the
assessment of him in Meryton (Austen, 2003: 18). Elizabeth conveys to Mr. Darcy
figuratively that his disposition is not amiable in order to construct his flawed character
further. Elizabeth constructs Mr. Darcy’s character from her own standpoint, echoing her
belief stated in an earlier dialogue that he despises her (Austen, 2003: 50).
Mr. Darcy responds with his own ironical performative utterance in PER11.20, that
Elizabeth purposefully misunderstands everybody. PER11.20 also echoes his prior
assessment that Elizabeth delights in imposing opinions upon Mr. Darcy. Irony is found
within his incongruity, that Elizabeth “willfully” misunderstands people. From Mr.
Darcy’s perspective, Elizabeth holds biased perceptions of him based upon his
judgmental behavior during their first encounter in Meryton. Mr. Darcy’s retort is not as
severe as Elizabeth’s, and through superiority theory PER11.20 is rather like ironic
banter. He is using ironic banter in a seemingly impolite way, although his intention is
benevolent. Mr. Darcy is constructing Elizabeth’s character through his verbal irony in
PER11.20, for her demeanor in comparison to Mr. Bingley and Caroline is strong-willed.
Mr. Darcy notices her independent willfulness, which is one of the qualities he admires in
her character. Mr. Darcy’s changing character is noticeable in the end of this dialogue,
observed in the use of banter in PER11.20. He is beginning to be more affable to
50
Chapter 5 Data Analysis (Total 81 PERs)
Elizabeth. His smile lets the readership know he is not angered by Elizabeth’s accusatory
ironical jabs, which are intended to be highly critical of his character. Mr. Darcy’s smile
(Austen, 2003: 57) further concurs the effect of Elizabeth’s ridicule as a form of verbal
irony presented purposely to illustrate the importance of Elizabeth’s true character
endowed by Austen, defying social norms to parody her society.
Although their use of verbal irony has been the primary way the two characters
interact in order to assess each other’s characters, their relationship begins and remains
within a turbulent phase where they often find disagreements against each other’s
character echoing opposing societal views, therefore seen by a third party present in their
conversation unaware of their verbal irony as in “argument” (Austen, 2003: 49). It is their
verbal irony that keeps them intrigued by each other’s character, therefore bringing in
their closeness. The last theme of their conversation in the disagreement dominant phase
finds the ironical performative utterances have increased to 20, the highest number found
among their dialogues within the novel. Elizabeth’s moral standards have a profound
impact on Mr. Darcy. His character has begun to alter according to Elizabeth’s positive
influence through verbal irony, specifically seen in ridicule to highlight Elizabeth’s
adaptable nature and witty character.
As we have discussed from the first several ironical performative speech acts of the
disagreement dominant phase, the novel shows that Mr. Darcy and Elizabeth have a
tumultuous relationship; they are engrossed and embattled with each other, which is
shown in the witty and critical verbal ironies that they duel and banter about with. Due to
this embattlement, the reader may be prone to seeing ironical allusions and adverse
implications within every conversation illustrated in the disagreement dominant phase of
characterization.
Such a situation however helps the reader visualize the societal norms in that era.
Note how men of means sought women not for their intelligence but for less equitable
reasons and considered such equality in education and literary freedom unsuitable, e.g.
Caroline is painted as a typical woman of the era who fawns over Mr. Darcy in any way
she can to gain his eye, while in contrast we see Elizabeth’s character as unconventional.
To help define what these norms are and bring out the feminist perspectives of the plot,
Mr. Darcy holds both typical and atypical characteristics. This means that he started with
a standard attitude and behavior entrenched in the gentry’s norms, but his views that are
51
Chapter 5 Data Analysis (Total 81 PERs)
atypical to the societal and gentry norms are gradually becoming more positively shaped
through Elizabeth’s ironical performative speech acts.
This brings to light the character development seen through a feminist angle. As
Butler (2002) [1990] points out concerning performative speech acts, they have the
ability to define and construct the characters of persons through their performative speech
acts. In this dialogue, Elizabeth is constructing her own ideals of what it means to be a
woman in contrast to the subjugated identity Caroline displays in her actions. Being a
woman is not just genetically inherent as Butler correlates, but is constructed through the
performances a person displays to themselves and society. Butler states that, “genders can
be neither true nor false, neither real nor apparent, neither original nor derive,” (Butler,
2002 [1990]: 140). Hence, Caroline’s actions are highlighting the social constraints of
woman’s roles in Regency England’s society, while Elizabeth’s performative speech acts
characterize and construct her identification with feminist ideals present within the same
society. We can see change through these conflicting views, i.e. Mr. Darcy, whose
character is rather conservative, has changing perceptions impacted by Elizabeth’s
ironical performative speech acts displaying notions of gender equality.
In this last premise, there are a total of 21 performatives, the greatest number of
ironical performative speech acts of all the premises, to indicate the increasing character
constructions of Mr. Darcy and Elizabeth through their ironical exchange. The exchange
of verbal ironies between Mr. Darcy and Elizabeth excludes the third parties according to
their shared community effect of verbal irony. Irony can be employed in this manner,
which creates a community between people in order to leave out others present, for
example Caroline or Mr. Bingley. It is important to note that when Mr. Darcy and
Elizabeth began their relationship from disagreement dominant phase of characterization,
they created their own community of shared wisdom in their characters and witty
exchange. Within their community they may use irony to convey their opinions in such a
way that others outside the community are unaware as to the figurative meanings of their
ironical utterances.
In this sense, Mr. Darcy and Elizabeth have created their own “community” in
which they are able to use echoic allusions, inside jokes and banter with each other (see
section 2.5 for an explanation of the functions of irony). With their formed community,
irony also adopts the evasive function. As both Mr. Darcy and Elizabeth are with an
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Chapter 5 Data Analysis (Total 81 PERs)
extended party, they must each use irony to get their points across figuratively without
alerting others to what the figurative meanings of the utterances are. She wants to present
Mr. Darcy’s character to him in a new light, a negative light, so that he may see that the
qualities he considers to be merits are actually seen as flaws in the eyes of others;
however, social rules do not allow her to do so openly, which is why the evasive function
of verbal irony shields Elizabeth.
5.3 Neutral Dominant Phase: Individual Character (24 Total PERs)
The neutral dominant phase of characterization of this study begins the analysis of
ironical performative speech acts starting with Chapter 18 of the novel and ending at
Chapter 45. This section is designated neutral due to the transition in Mr. Darcy and
Elizabeth’s characterization. The neutral dominant phase has three premises for the
thematic dialogues; the first premise contains two dialogues, while the second and third
premises each include only one dialogue. In the beginning of this section, the two
characters exhibit a change in tact. Verbal ironies between Elizabeth and Mr. Darcy are
less dense as these two characters become more civil toward each other and less
quarrelsome. Elizabeth and Mr. Darcy, in this phase of the novel, are found to engage in
ironic banter although their judgments are clouded by apprehension. However, this
peaceful time in their relationship comes to an end after Elizabeth unravels her findings
about Mr. Darcy’s faulty character from Mr. Wickham. Her discovery of his role in
breaking up Jane and Mr. Bingley is a basis for Elizabeth’s rejection of Mr. Darcy’s
marriage proposal in Chapter 34. This conversation in particular hosts a few ironies,
highlighting both Mr. Darcy’s and Elizabeth’s pride and prejudice within their characters.
At the end of the neutral dominant phase of characterization, both Elizabeth and Mr.
Darcy emote fully, holding nothing back with regard to politeness or disguise.
The neutral dominant phase consists mainly of their neutral views of each other’s
character within their ironical performative speech acts when they began to have more
sympathy for each other. Mr. Darcy’s emotions are related to Elizabeth’s character, for
she has a great impact on him. The reader knows Elizabeth is gradually changing Mr.
Darcy’s view regarding the world shown at the end of the disagreement dominant phase.
The two are growing more empathetic of each other, which makes them less
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Chapter 5 Data Analysis (Total 81 PERs)
argumentative and more prone to ironic banter and civility. The uncertainty of their
relationship, a main feature of the neutral dominant phase, is seen in the oscillation from
banter to quarreling. There are 24 ironical performative speech acts found within the
neutral dominant phase, which epitomizes a point in which Mr. Darcy and Elizabeth
become fond of each other’s company. The following dialogues are taken from Chapters
18, 31 and 34 of the novel, where the neutral dominant phase takes place.
5.3.1 Assessing Character: 12 PERs
The beginning character change in Mr. Darcy becomes evident through the dearth of
scorn or cruelty in his ironical utterances. Mr. Darcy has developed feelings for Elizabeth
by this time, and in Chapter 18 he openly invites her to dance at Netherfield. This shows
a dramatic change, a key point in the plot taking place in characterization in contrast to
his last request to dance with her at Netherfield and his much earlier snub of Elizabeth for
her disqualifying appearance at the Meryton ball. Elizabeth, who is determined to stay
prejudiced against Mr. Darcy, consents to Mr. Wickham’s foils, and states she could sense
the truth in his looks (Austen, 2003: 33). On the other hand, Mr. Darcy is starting to fall
in love with Elizabeth and ironically, Elizabeth thinks he dislikes her and continues to
keep that echoic allusion alive, as she mentions when she opinionates to herself that Mr.
Darcy cannot possibly like her (Austen, 2003: 50). When Mr. Darcy asks Elizabeth to
dance, she is slightly flabbergasted by his inquiry and “without knowing what she did,
she accepted him” (Austen, 2003: 89). Mr. Darcy’s romantic notions for Elizabeth and
Elizabeth’s apprehension aptly illustrate the beginning of the neutral dominant phase of
characterization. This is the setting in which the observations of the conversations
between Mr. Darcy and Elizabeth take place.
5.3.1.1 Character Contrast
In this dialogue, Elizabeth has accepted an invitation from Mr. Darcy to dance at the
Netherfield ball, despite her promise to her mother that she would never dance with him
because Mr. Darcy was harshly critical of Elizabeth’s appearance when the two first met
(Austen, 2003: 21). Elizabeth anticipates Mr. Wickham’s presence at the ball, because she
has begun to have romantic feelings for him. She is vexed to find that Mr. Wickham fails
to appear, and she suspects that in one way or another it has to do with Mr. Darcy. Mr.
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Chapter 5 Data Analysis (Total 81 PERs)
Wickham’s absence and Mr. Darcy’s invitation add to Elizabeth’s apprehension. During
the dance both remain silent. Elizabeth imagined that provoking Mr. Darcy to speak with
her would bring him displeasure and thus bring her delight. She attempted to start a
conversation, but Mr. Darcy was not receptive to her comments regarding the dance;
finally, she said “It is your turn to say something now, Mr. Darcy” (Austen, 2003: 90).
Elizabeth ironically informs Mr. Darcy that she has taken her part in the
conversation and that it is his turn to reciprocate. She disassociates herself by making this
mockingly apparent to Mr. Darcy, as if stating to someone unaware of Regency-era
England’s formality that people must engage in conversation in social settings. This is an
effect of not knowing why she accepted the dance, so she returns the attitude as a form of
alleviation. What this means is that she chooses to dance despite her unplanned consent to
do so. In turn, she provokes Mr. Darcy into conversation. It is ironic because it is
inconsistent with the situation they are both faced with in relating to each other, when
seen in the light of their past, the inhibitions become startlingly evident, and thus the
irony much more so. Elizabeth’s mocking attitude intends to prove to Mr. Darcy his own
faults of being unsocial. Mr. Darcy gathers his own witticism by answering with regard to
her allusions of these faults.
Elizabeth, sensing Mr. Darcy’s sardonic attitude, replies that she sometimes likes to
converse while dancing, but that some arrangement of conversation is necessary for it
would be strange to remain silent for a whole half hour.
(PER18.01) “and yet for the advantage of some , conversation ought to be so
arranged, as that they may have the trouble of saying as little as possible.”
(Elizabeth)
(DIR18.05) “Are you consulting your own feelings in the present case, or do
you imagine that you are gratifying mine?” (Mr. Darcy)
(Austen, 2003: 90)
Elizabeth ironically points out that Mr. Darcy is one of the some who lack social
capabilities, a character blemish that she sees in him. Irony in PER18.01 is found within
the incongruity of her statement due to the word “some” although she is figuratively
pinpointing Mr. Darcy. In PER18.01, Elizabeth critically judges Mr. Darcy with
intentional irony to urge him to be social. Her echoic allusion regarding “trouble”
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Chapter 5 Data Analysis (Total 81 PERs)
continues when she recalls Mr. Darcy’s shade in character to be proud due to the fact that
he holds a higher social stance above everyone else. She ironically suggests that it would
be advantageous to some, insinuating Mr. Darcy to gain from a planned-out conversation.
In terms of banter principle, Elizabeth is seen to be impolite on the surface, yet actually
means well to provide Mr. Darcy a perspective to assess his character defects. Mr. Darcy
is challenged to use his wit in his response in DIR18.05. DIR18.05 is seemingly a
question that literally aims to gather an explanation from Elizabeth to either convey her
own beliefs to Mr. Darcy or describe what she believes to be his idea on the matter that
conversation is unnecessary. Because Elizabeth has the tendency to impose upon Mr.
Darcy her own perceptions of his character, Mr. Darcy’s figurative meaning is layered
and seeks to ironically confront her prejudiced view against his character as an emphasis.
However, Mr. Darcy is seen in the neutral dominant phase of characterization to be witty,
using apprehensive banter to convey his irony and remain civil. He appeared to be asking
a question rather than making a character supposition by harshly claiming Elizabeth to be
opinionated when he was confronted with her character comparison in the past. DIR18.05
is an echo of Elizabeth’s usual assignment of opinions to him based on her biased
perception, alluding to the instance when she imposed opinions on him in the
disagreement dominant phase. The location of verbal irony is inspected through the use
of an echoic allusion, enhancing a mockery reminding Elizabeth that she is not only
imposing opinions upon him “in the present case,” for she has done this in the past as
well (Austen, 2003: 48).
Next, Elizabeth’s ironical performative speech acts challenge Mr. Darcy and
simultaneously construct both her own and Mr. Darcy’s characters.
(PER18.02) “Both,” replied Elizabeth archly; “for I have always seen a great
similarity in the turn of our minds.” (Elizabeth)
(PER18.03) “We are each of an unsocial, taciturn disposition, unwilling to
speak, unless we expect to say something that will amaze the whole room, and
be handed down to posterity with all the éclat of a proverb.” (Elizabeth)
(Austen, 2003: 90)
In PER18.02, Elizabeth’s response to Mr. Darcy states that she is speaking on behalf of
them both. The irony in her utterance lies in the duality of the comparison. Elizabeth
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Chapter 5 Data Analysis (Total 81 PERs)
believes her own moral stance to be superior to Mr. Darcy’s, especially after learning of
his history with Mr. Wickham (Austen, 2003: 76-80). She does not believe there is a
“similarity” in her and Mr. Darcy’s minds. Through her ironical performative speech act
in PER18.02, Elizabeth explains on the exterior that she believes she and Mr. Darcy are
similar in the way they think, which is why she felt qualified to conjecture about how he
would want arranged conversation during the dance and speak on his behalf. Elizabeth’s
apprehensive banter works to mock Mr. Darcy because she believes his opinions are quite
different from her own. Her irony, however, is benevolently asserting her views over Mr.
Darcy’s in order to point out the characteristics in him she believes to be flawed.
She further explicates how she considers them to be similar in PER18.03, the
incongruity located in her use of “we,” because she does not place herself together with
Mr. Darcy in terms of moral character. In PER18.02 and PER18.03 Elizabeth can be seen
constructing Mr. Darcy’s character again, and her words attempt to make him to believe
their characters have several similarities. PER18.03 is ironically echoing the current
situation as well as when the two first met in Meryton, being that Mr. Darcy does not
seem inclined to interact with Elizabeth. Thus, she uses the ironical performative speech
act to state why she and Mr. Darcy do not want to speak; she references Mr. Darcy’s
arrogant nature with an ironical overstatement exaggerating that Mr. Darcy cannot speak
unless what he says will astound everyone around him and earn him further respect from
his peers and be remembered for future generations. By also referencing herself, she
continues with her dissociative attitude in PER18.03, meaning she does not believe the
two are similar but rather uses the term we as a way to disguise the figurative meaning
behind the literal meaning. This portrays the evasive function of irony, where Elizabeth
wants to distance herself from the figurative meaning of the utterance so as to conceal the
criticism. Her banter appears critical but means to help Mr. Darcy see his own character
from a new angle. Mr. Darcy responds to Elizabeth’s banter with his own ironical
performative speech acts to further construct both his and Elizabeth’s identities.
(PER18.04) “This is no very striking resemblance of your own character, I am
sure,” said he. (Mr. Darcy)
(PER18.05) “How near it may be to mine , I cannot pretend to say .” (Mr. Darcy)
(PER18.06) “You think it a faithful portrait undoubtedly .” (Mr. Darcy)
(PER18.07) “I must not decide on my own performance.” (Elizabeth)
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Chapter 5 Data Analysis (Total 81 PERs)
(Austen, 2003: 90)
Mr. Darcy’s comprehension of Elizabeth’s ironical utterance is apparent from his
response in PER18.04 and PER18.05. PER18.04 is overt irony, for Mr. Darcy makes it
clear to Elizabeth that he knows she is mocking him by stating that the description does
not bear resemblance to her own character, and that she is overstating their dissimilarities
in character. PER18.04 shows Mr. Darcy’s dissociative attitude toward Elizabeth’s
utterance PER18.03 through his disbelief that she considers their characters to be similar.
His reciprocating banter is examined through superiority theory, as he makes Elizabeth
aware of his understanding to defend his own wit against hers. He also claims he is not in
a position to judge how well the description in PER18.03 describes his own character. In
claiming that he “cannot pretend” to say how her description might reflect his own
character, the duality is revealed in PER18.05—the perlocutionary effect meant for
Elizabeth’s uptake of his intentional irony. At the same time, Mr. Darcy disagrees with
Elizabeth’s portrayal of him as a pompous attention-seeker. He feigns through irony that
he is unable to ascertain how close Elizabeth’s account may be to his true character,
although he is insincere due to his differing opinions of himself. Mr. Darcy and Elizabeth
are engaged in banter to display their own opinions in a benign way, disguised outwardly
as impolite, according to the banter principle. The banter reflects their evolving
relationship, for the pair is no longer antagonistic from the disagreement dominant phase.
In PER18.04 and PER18.05 we also see irony adopting a distancing function in order for
Mr. Darcy to relay his opinion of Elizabeth’s comments, while not outrightly objecting to
her claims, as this would be socially inappropriate to defend his character in a public
setting
Mr. Darcy continues his witty response to Elizabeth’s accusation with PER18.06.
His irony in PER18.06 figuratively rejects Elizabeth’s reasoning that she has managed to
paint “a faithful portrait” of his character. Through an overstatement, the illocution of
PER18.06 is intended to convey to Elizabeth that he is aware of the fact that she
disapproves of his reluctance to be engaged in conversation during the dance,
constructing Elizabeth’s character as a judgmental person. Mr. Darcy’s utterance is
ironical because he does in fact believe Elizabeth is far more like him than she would
care to admit, because she is also proud and prejudiced, but cannot see her own
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Chapter 5 Data Analysis (Total 81 PERs)
resemblance to him because of her prejudice against him. The perlocutionary act of
PER18.06 is that Mr. Darcy intended for Elizabeth to confess her true opinions of his
character. PER18.06 is also a construction of Elizabeth’s character. Mr. Darcy is alluding
to her own character’s similarity to his in pride and prejudice. His irony is found within
the duality in PER18.06. He claims that Elizabeth believes her depiction is “a faithful
portrait” of him, although the figurative meaning is that he advocates that she believes it
is an accurate portrayal of her own character as well as his, teasing her through banter.
PER18.06 conveys Mr. Darcy’s view that Elizabeth is judgmental of his attitude at the
ball, exposing her shortcomings without having to defend his own character flaw. This
effect is evidently illustrated through superiority theory where his own superior sense is
often seen due to his higher social standing to intimidate others; at times the readership is
also aware of Mr. Darcy’s superior mind and exceptional wit in his rhetorical rejoinder to
counterthrust the other verbal ironist, Elizabeth. His sentiments towards Elizabeth also
make him less hostile, using ironic banter to display his changing character.
Elizabeth contradicts her claim in PER18.03 by stating “I must not decide on my
own performance” in PER18.07 to reveal to Mr. Darcy that she was not actually speaking
for herself in PER18.03, but directing the irony towards Mr. Darcy, thus exposing her
prejudiced view of him by revealing PER18.03 was only a comment upon his character
(Austen, 2003: 90). The literal meaning of PER18.07 is that Elizabeth references her
character portrayal of herself is seemingly similar to Mr. Darcy’s but its figurative
meaning conveys Elizabeth’s divergent character, and her belief that her portrayal of Mr.
Darcy’s character is accurate in that he is unsocial and aloof, believing himself above
others. Mr. Darcy shows through his ironical performative speech acts that the figurative
meaning of Elizabeth’s utterance in PER18.03 has been interpreted as ironical, referring
to her view of his own character, and not her character although she says we. He has
made it evident by refuting Elizabeth that he understands her belief that PER18.03 is an
accurate portrayal of Mr. Darcy’s proud, antisocial character.
In the first part of this dialogue, Mr. Darcy and Elizabeth are each constructing the
other’s character through ironical performative speech acts, addressing their views of
each other in order to create a new image or portrayal. Both Mr. Darcy and Elizabeth are
less critical of each other. Verbal irony allows them to communicate more effectively,
albeit evasively, because the irony veils the figurative meaning. Therefore, their
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Chapter 5 Data Analysis (Total 81 PERs)
judgments remain civil when they include themselves in criticism, despite the figurative
meaning to point the finger at each other for personal flaws. Although Mr. Darcy and
Elizabeth had previously been growing less antagonistic toward each other, at the end of
the disagreement dominant phase, and the beginning of the neutral dominant phase,
Elizabeth remains somewhat judgmental of Mr. Darcy’s character because she confronts
her feelings of uncertainty about him, which is shown through her displeased attitude as
the two are dancing.
The characterization shows Mr. Darcy’s new cooperative mood, which is more
pleasant than before as he has become increasingly willing to compromise with Elizabeth
due to his growing fondness for her. The significant moment is in his pairing with
Elizabeth in the dance, as normally he would choose a woman of his own station
according to class. Mr. Darcy’s new attitude came as a surprise to Elizabeth, because
Elizabeth’s disconcerting feeling towards him is visible when she is addressed by her
friend Charlotte who claims Elizabeth would find Mr. Darcy “very agreeable,” although
Elizabeth accepted a dance with Mr. Darcy and “fretted over her own want of presence of
mind” (Austen, 2003: 89). This causes her to question whether she could be wrong about
Mr. Darcy’s character after all. This confusion regarding Mr. Darcy continues to display
Elizabeth’s opinionated view of his character. Her confused feelings do not alter her
continuous attempts to construct Mr. Darcy’s character through verbal irony. Mr. Darcy’s
increased sentiments for Elizabeth also aid his more neutral approach to interacting with
her. When the two characters are growing to enjoy each other’s company through the
witty exchange of verbal irony, they are less quarrelsome. He and Elizabeth are no longer
using irony to attack the other’s character but rather to shed light on their characters from
a more neutral perspective.
5.3.1.2 Accusation
The second dialogue from Chapter 18 continues Mr. Darcy and Elizabeth’s
discussion while the two are dancing. Mr. Darcy asks Elizabeth if she often walked to
Meryton with her sisters, and after she responds, she quickly changes the topic to Mr.
Wickham. She is inquisitive about the history between Mr. Darcy and Mr. Wickham, and
thus provokes Mr. Darcy to speak of the man against whom he holds a grudge. Thus far,
Elizabeth has only heard Mr. Wickham’s side to the story of what broke the civil relations
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Chapter 5 Data Analysis (Total 81 PERs)
between himself and Mr. Darcy. This part of the novel is critical to Elizabeth’s
characterization of Mr. Darcy; she allows herself to be blinded by prejudice, although she
accuses Mr. Darcy of having the same fault. Shown in this dialogue is Elizabeth’s
personal conflict: she has begun to possibly like Mr. Darcy and grow fonder of their
banter, but her recent encounter with Mr. Darcy’s main foe, Mr. Wickham, has caused her
to doubt her potential feelings for Mr. Darcy and furthered her confusion over those
feelings for him.
She answered in the affirmative, and, unable to resist the temptation, added,
“When you met us there the other day, we had just been forming a new
acquaintance.”
. . . .
(PER18.08) “Mr. Wickham is blessed with such happy manners as may ensure
his making friends—whether he may be equally capable of retaining them, is
less certain.” (Mr. Darcy)
(PER18.09) “He has been so unlucky as to lose your friendship ,” replied
Elizabeth with emphasis, “and in a manner which he is likely to suffer from all
his life.” (Elizabeth)
(Austen, 2003: 90-91)
According to the narrative, Mr. Darcy’s countenance illustrated his strained reaction to
the mention of Mr. Wickham (Austen, 2003: 91). The playful banter between them
immediately subsides with the change in topic to Mr. Wickham, which is a sore point for
Mr. Darcy. Mr. Darcy responds to Elizabeth with an ironical utterance, alluding to his
relationship with Mr. Wickham. His irony is laced with the incongruity in his understated
opinion that Mr. Wickham is unable to keep friends that he has made. In PER18.08, Mr.
Darcy portrays Mr. Wickham as charming upon meeting him, but insinuates that his
character is thorny. Mr. Darcy’s irony is directed at Mr. Wickham’s character, telling his
side of the dispute between himself and Mr. Wickham. His superiority is flaunted as he
conveys to Elizabeth that he knows Mr. Wickham much better than she does, and
understands the flaws in his character which Elizabeth has yet to witness.
Elizabeth defends Mr. Wickham against Mr. Darcy’s irony in PER18.09,
incongruously claiming that Mr. Wickham was “unlucky” to lose Mr. Darcy as a friend.
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Chapter 5 Data Analysis (Total 81 PERs)
The perlocutionary act in her statement illustrates its incongruity, in that Elizabeth does
not believe that Mr. Wickham is better off being friends with Mr. Darcy after she has
heard Mr. Wickham’s account. Ironically, Elizabeth took an immediate liking to Mr.
Wickham because of his charm, but more importantly because his account of Mr. Darcy
supported her dislike for him. She allowed her prejudice of Mr. Darcy to take hold, and
although she did not know Mr. Wickham well she believed his story of Mr. Darcy, which
was that Mr. Darcy had acted spitefully towards him and contrived to steal wealth from
him, which left him nearly destitute. From this story, he was able to fuel Elizabeth’s
dislike for Mr. Darcy and help confirm her perceptions of Mr. Darcy’s character. She had
begun to entertain possible romantic feelings toward Mr. Darcy, but upon meeting Mr.
Wickham and hearing his fabrication of Mr. Darcy’s character she allowed her feelings of
disdain for Mr. Darcy to grow and once again build up a prejudice against him, which
would only intensify in later chapters. She has no suspicions of Mr. Wickham’s
allegations about Mr. Darcy, but his poisonous words are received well by Elizabeth. Mr.
Darcy’s arrogance is not the only cause of Elizabeth’s dislike; his apparent cruelty (as
illustrated by Mr. Wickham’s story) has created a deeper aversion for Mr. Darcy that
Elizabeth embraces because the finding justifies her resistance to Mr. Darcy.
Mr. Darcy and Elizabeth continue with their dialogue after an interruption from Sir
Lucas. Mr. Darcy attempts to start a conversation upon Sir Lucas’s departure, but
Elizabeth rebuffs his effort to speak with her. She ironically mentions that the two were
not speaking before Sir Lucas interrupted, and that she does not wish to continue with her
previous attempt at discourse. Mr. Darcy suggests they discuss books, for both he and
Elizabeth have a passion for reading and he hopes to find common ground with this topic.
However, Elizabeth denies that they could have anything to discuss regarding books.
(ASR18.08) “We have tried two or three subjects already without success, and
what we are to talk of next I cannot imagine.” (Elizabeth)
(DIR18.06) “What think you of books?” said he, smiling. (Mr. Darcy)
(EXP18.02) “Books—oh! no.” (Elizabeth)
(PER18.10) “I am sure we never read the same, or not with the same feelings.”
(Elizabeth)
(Austen, 2003: 91-92)
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Chapter 5 Data Analysis (Total 81 PERs)
In PER18.10, Elizabeth’s irony echoes her character comparison earlier in the
conversation, when she ironically claimed that she and Mr. Darcy were alike in mindset.
Now, she assures Mr. Darcy that they cannot have anything in common, contradicting her
previous literal assessment which drew their characters together in similarity. In
PER18.10 Elizabeth’s irony is derived from the incongruity in her literal reference to
books and her figurative reference to the divergence in her and Mr. Darcy’s characters.
She echoes her belief that she and Mr. Darcy are vastly different in terms of moral
character, meaning her moral stance is higher than Mr. Darcy’s. Her reluctance to engage
in conversation reflects her present conflicted mind. She is uncertain of Mr. Darcy’s
character after Mr. Wickham’s accusation. She immediately changes the subject, referring
to Mr. Darcy’s assessment of his own faults:
“I remember hearing you once say, Mr. Darcy, that you hardly ever forgave, that
your resentment once created was unappeasable.” (Elizabeth)
(PER18.11) “You are very cautious, I suppose, as to its being created .”
(Elizabeth)
“I am,” said he, with a firm voice. (Mr. Darcy)
(DIR18.08) “And never allow yourself to be blinded by prejudice?” (Elizabeth)
(PER18.12) “I hope not.” (Mr. Darcy)
(Austen, 2003: 92)
PER18.11 is an ironical allusion to Mr. Darcy’s “resentment” toward Mr. Wickham. The
incongruity is revealed as the literal meaning belies her intended meaning, in that she
does not suppose Mr. Darcy is “very cautious” to the creating of such strong resentment
against another person. Through verbal irony, Elizabeth reveals to Mr. Darcy what she
believes to be a blight on his character: allowing prejudice to create the resentment
toward a person which may or may not be warranted. Her irony conveys to Mr. Darcy
that her own moral character is superior to his, and at Mr. Darcy’s expense reveals her
conceptions regarding his resentment for Mr. Wickham.
She thus remarks to Mr. Darcy on his personality, not knowing what she is really
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Chapter 5 Data Analysis (Total 81 PERs)
saying. Her thoughts and confusion are confirmed when she found that Mr. Darcy may
not be “less answerable” for Mr. Wickham’s failure to appear (Austen, 2003: 88).
Elizabeth remarks on how she sees Mr. Darcy’s character and asks him of his own
perception of his personality. When Mr. Darcy replies to such questioning, Elizabeth
ironically inquires of Mr. Darcy a rhetorical question. She does not in truth intend for Mr.
Darcy to answer her question, as she has already formed her own opinion. Nevertheless
Mr. Darcy obliges Elizabeth with a response to her inquiry.
Although DIR18.08 is couched in a supposition of an inquiry, it is accusatory by
nature. Elizabeth is using rhetorical irony, echoing the fact that she finds Mr. Darcy to be
blinded by his prejudice, so she needn’t bother asking; she only uses rhetoric to target Mr.
Darcy. In DIR18.08, we observe Elizabeth making a suggestion to Mr. Darcy. The irony
in this statement comes from the contextual fact that Elizabeth’s judgment has already
been determined, therefore she is insincere and her intention is to reiterate with a stronger
illocutionary force accusing Mr. Darcy with a question. The perlocutionary act in
DIR18.08 is to have Mr. Darcy understand she believes his character to be prejudiced.
The incongruity of questioning makes her blame more evident as we can see she is
targeting Mr. Darcy with her verbal irony. At this juncture, Elizabeth shows a prejudice
against Mr. Darcy. When combined with the uneasiness she feels regarding Mr. Darcy’s
appeal to her (or at least the conversations which they share), the simultaneous opposing
sentiments confound her. This conundrum is thus ironic in nature.
We can see through hindsight that Elizabeth already knows Mr. Darcy is blinded by
his prejudice. According to echoic theory, Elizabeth is using this ironical statement to
make an explicit echo of the fact that she already believes Mr. Darcy to be prejudiced, a
fact of which she and Mr. Darcy are already aware. Elizabeth belies this proposition of
obscurity by posing or pretending to ask a question when she has already judged Mr.
Darcy in affectations of her own question and thus could have proffered the question as a
proclamation, especially in regards to the opinions she has already formed.
PER18.12 is a reference to his prejudice towards her and lower social classes of
their society, revealing the infelicity of his words as his “hope” is in contradiction to his
actual prejudice, because Mr. Darcy does not subsequently carry out his proposition of
not being prejudiced. Despite the incongruity in his ironical utterance with the reality of
his character, Mr. Darcy still has prejudice regardless of his “hope” to not have it, which
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Chapter 5 Data Analysis (Total 81 PERs)
is where the irony in PER18.12 can be found. The utterance is actually more of a plea on
Mr. Darcy’s part and that plea displays his own character construction from PER18.12. In
this utterance, PER18.12, we can also see the moral ideals that Elizabeth has influenced
Mr. Darcy’s worldview with and that his behavior and opinions are becoming more in
tune with the initiative that Elizabeth shows. For him to convey to Elizabeth that he
would like to see himself not having prejudice shows an aspect of desire in his character
to not be prejudiced nor be considered as such by Elizabeth or others. If we contend that
the ideals of ironical performative speech acts propose a person’s character by
juxtaposition of the speech acts they portray, we can see that the sum affectation of his
contact with Elizabeth has thus swayed Mr. Darcy to change his views and enlighten his
opinions with awareness of women’s equality.
First, we can see the asymmetry of Mr. Darcy’s character construction in the same
light of hypocrisy regarding his literal statement versus the figurative meaning in his
utterance, which is that although he hopes, his hope is in vain as he has already failed in
that endeavor. This fact shows the echoic allusion to his previously admitted faults,
including prejudice to Elizabeth earlier when he divulged he cannot forget the follies and
vices of others (Austen, 2003: 56). He claims to Elizabeth that he hopes he is not
prejudiced. The echoic irony brings to light a clear indication to his earlier self-
proclaimed prejudice, which shows the contrast between his former character and the
desire to become a better man in Elizabeth’s eyes.
Up to this junction, we see Mr. Darcy’s pride vividly displayed through his actions
toward Elizabeth and his opinions formed in civil discourse. We also see illustrations of
Elizabeth’s prejudice, as some of her actions are fundamental examples of the irony
intended by the very name of the novel itself whose portent is meant to convey the verbal
irony through our protagonists’ pride and prejudice. At the Netherfield ball, we learn
from the text of Elizabeth’s remarks that she wishes to avoid any sort of conversation or
relation with Mr. Darcy that evening. This is because she prejudicially assumes that Mr.
Darcy is the cause of Mr. Wickham’s absence. She also ironically observes the wit of Mr.
Darcy, and her mixed feelings of prejudice that it would be a “misfortune” to find Mr.
Darcy agreeable when she is “determined to hate” (Austen, 2003: 90). Despite her
actions, she indicates that finding him agreeable is a discrepancy that belies the
relationship and heated discussions and opinions they have shared up to that point.
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Chapter 5 Data Analysis (Total 81 PERs)
Elizabeth still has the ironic ability to speak less antagonistically in contrast to her omen
of misfortune and to how their relationship often looks on the exterior.
Sensing the irony in his utterance, Elizabeth replies to PER18.12 with an ironical
utterance in contrast to her earlier sardonic wit by not reiterating in her riposte. Her
ironical retort is patronizing to Mr. Darcy, demonstrating that she thinks he carelessly
forms opinions of others.
(DIR18.09) “It is particularly incumbent on those who never change their
opinion, to be secure of judging properly at first.” (Elizabeth)
(Austen, 2003: 92)
DIR18.09 is cynical due to the manner in which Elizabeth states her utterance, which
intends to direct Mr. Darcy to be sure his opinions reflect the truth before deciding upon
them. Therefore, Elizabeth who is already opinionated against Mr. Darcy and of a
persistent nature herself has reflected her prejudice. She states this to Mr. Darcy to
contend in a manner that he is at fault of not properly judging Mr. Wickham and that Mr.
Darcy is overtly prejudiced against Mr. Wickham without due cause.
Elizabeth is not directly accusing Mr. Darcy but implicitly accusing Mr. Darcy.
When Mr. Darcy asks Elizabeth what her questions are implying, she replies they are in
regard to the illustration of Mr. Darcy’s character. When Mr. Darcy asks her what she
sees, she states she is puzzled by the opinions of others and her own judgment (Austen,
2003: 92). She posits his character is intricate, and the readership should be aware
Elizabeth is echoing her earlier character judgment that he is dissimilar to Mr. Bingley,
who is simple in contrast to Mr. Darcy’s complexity (Austen, 2003: 42). Thus, we can see
both of their hesitations as Elizabeth questions herself in respect to Mr. Darcy, who is
likewise concerned with Elizabeth and her opinion regarding his character. This is
especially seen in light of his previously analyzed utterance “You think it a faithful
portrait undoubtedly,” (Austen, 2003: 90) and he again shows his worry about her
judgment of him.
Elizabeth replies to his intrigue at her opinion of his character with accusatory
intentions, which fulfills the notion that echoic irony is meant for the H’s (Mr. Darcy)
uptake. Despite Elizabeth purposely bringing up Mr. Wickham to criticize Mr. Darcy, the
social norms of the time prevent Mr. Darcy from amenably disputing the truth about Mr.
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Chapter 5 Data Analysis (Total 81 PERs)
Wickham. Mr. Darcy cannot reveal the truth as he is a gentleman; ironically it prevents
him from accurately constructing his own character for her. Through her prejudice,
Elizabeth satirically does not see that on any occasion, Mr. Wickham does not fail to
degrade Mr. Darcy, while Mr. Darcy never contradicts his denigration or returns it. Mr.
Darcy tells Elizabeth to not form her opinion of his character at that point and he
mentions that there is reason to fear (Austen, 2003: 92), that if she does form her opinion
it may be deluded. Mr. Darcy is hinting at Mr. Wickham’s slander, and Elizabeth
disregards this view as her concern is not parallel with Mr. Darcy’s. She is unaware of
Mr. Wickham’s lies and feels the sting of Mr. Darcy’s statement, so she returns the
scathing comment on Mr. Wickham with her own ironical and veiled threat. Elizabeth
warns him: “But if I do not take your likeness now, I may never have another
opportunity” (Austen, 2003: 92). To which Mr. Darcy ironically retorts: “I would by no
means suspend any pleasure of yours” (Austen, 2003: 92).
Mr. Darcy is overstating Elizabeth can feel free to judge him with false prejudice,
showing through verbal irony his pride. He actually does care how Elizabeth sees his
character, but acts apathetically due to his pride and thus ironically utters an incongruity
in illogicality of that fact. The infelicity is firstly revealed as he does indeed care what her
opinion is and ironically turns a callous word to Elizabeth that belies that fact. The
intonation behind his irony comes from the contextual clues that he “coldly” said he
would not deny Elizabeth pleasure (Austen, 2003: 92), which Elizabeth may take for
granted and thus judge Mr. Darcy with prejudice and attribute to his conceited nature.
The coldness in the departing threats between Mr. Darcy and Elizabeth are
indicative of the characterization changes within the neutral dominant phase. The two
have displayed a wider range of sentiments than in the previous dialogues, and this
oscillation engenders the neutrality in their ironical utterances, ending in a reversal to
differences as each attempts to construct the other’s character according to their current
viewpoints. However, Elizabeth’s present discernment of Mr. Darcy’s character is based
upon her prejudice against him, and thus creates more dissonance between the two.
This exchanging of verbal ironies in a battle of wit is confounded by the prejudices
they have of each other. The pride they cannot let down to see each other in a non-
prejudiced light is in summation an example of irony that runs rampant throughout the
novel’s plot. This is more than hinted to at this ball, as the dance offers an intimate social
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Chapter 5 Data Analysis (Total 81 PERs)
meeting that has certain protocols which aid to illuminate their apprehensions. Elizabeth
and Mr. Darcy both come with inhibitions, his being pride of his social class regarding
attraction to a woman of lower social standing, and hers being prejudicial assessment of
Mr. Darcy’s persona. Those inhibitions have the effect of instituting ironical dialogue,
which is observed in their respective echoes of the other. In the beginning of the neutral
dominant phase of analysis, Mr. Darcy and Elizabeth have engaged in more apprehensive
banter. However, we see that in the end of the second dialogue of the first premise that
Mr. Darcy and Elizabeth began to dispute when the subject of Mr. Wickham was
approached, and thus their conversation became quarrelsome. These fluctuations are the
characteristics of the neutral dominant phase, where Mr. Darcy and Elizabeth are first
showing increasing civility with their ironical utterances, but at times are inconsistent as
they break this pattern with conflict.
Through the ironical performative speech acts, both Mr. Darcy’s and Elizabeth’s
characters are further constructed based on their opinions of each other. Evident from this
dialogue, each perceives the other to be prejudiced and prideful, which Elizabeth
ironically referred to in her attempt to explain why neither of them wanted to speak at the
ball. However, rather than ironical attacks as seen in the disagreement dominant phase of
characterization, the two are resorting to ironic banter in the neutral dominant phase, for
they grow more intrigued with each other. There is also a drop in number of ironical
performative speech acts in this premise to 12 because of Elizabeth’s threat to Mr. Darcy
to not see him afterwards. This creates a dramatic turn in the neutral dominant phase
where Mr. Darcy and Elizabeth do not see each other until they are thrown together again
during Elizabeth’s visit to Charlotte and Mr. Collins.
5.3.2 Civil Banter: 8 PERs
5.3.2.1 Character Comparison
The next dialogue is found in Chapter 31 of the novel, when Mr. Darcy and
Elizabeth meet again while Elizabeth visits her friend Charlotte. This dialogue is their
first encounter since the tension during the dance at Netherfield. In this dialogue, Mr.
Darcy and Elizabeth have gone back to their light-hearted banter, playfully mocking each
other through irony in the presence of their peers. Mr. Darcy happens upon Elizabeth
playing the piano forte for his aunt, Lady Catherine de Bourgh and others at Lady
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Chapter 5 Data Analysis (Total 81 PERs)
Catherine de Bourgh’s estate. Elizabeth ironically acknowledges Mr. Darcy’s arrival, and
the two characters engage in civil banter. Elizabeth, surprised at Mr. Darcy’s entrance,
asks him if he intended to “frighten” her (Austen, 2003: 170). He replies that she could
not “believe” him to have the motive of “alarming” her (Austen, 2003: 170). He insists
that she does not think he would actually intend to surprise her. The setting is ironic due
to their previous encounter at the Netherfield ball. Elizabeth teasingly alludes to Mr.
Darcy’s judging her, while in response Mr. Darcy conveys that he knows she would
believe him to be watching her for the purpose of judgment. Both Elizabeth and Mr.
Darcy are predisposed to believing the other means to criticize with the initiation of any
interaction due to the mixed sentiment and hesitation from their last meeting. Although
Mr. Darcy and Elizabeth are fond of enjoying each other’s civil banter within their own
community that their irony developed, this dialogue reflects their apprehension toward
each other after their tension at the Netherfield ball.
(PER31.01) “and I have had the pleasure of your acquaintance long enough to
know that you find great enjoyment in occasionally professing opinions which
in fact are not your own.” (Mr. Darcy)
. . . .
(PER31.02) “I am particularly unlucky in meeting with a person so able to
expose my real character, in a part of the world where I had hoped to pass
myself off with some degree of credit.” (Elizabeth)
(Austen, 2003: 170)
Mr. Darcy retorts to Elizabeth’s question with his own ironic banter, and begins to
construct her character with his ironical performative speech act. PER31.01 is a sardonic
remark to taunt Elizabeth; the incongruity which illuminates the irony is in the use of the
word “pleasure.” Given the history between Mr. Darcy and Elizabeth, both are aware that
their entire acquaintance up to this point had not all been pleasure, and their relationship
was mixed with much apprehension and intrigue. Mr. Darcy mocks Elizabeth for her own
frequent use of irony for expressing opinions of others in society. He is echoing the
instances where he called Elizabeth out for portraying him to have opinions that he never
professed (Austen, 2003: 48). He is constructing Elizabeth’s character to be judgmental,
holding a prejudice against Mr. Darcy with little evidence to support her opinions.
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Chapter 5 Data Analysis (Total 81 PERs)
By delving deeper into Mr. Darcy’s allusion to Elizabeth’s imposition of opinions on
him, an echo of their conversations in the past at Netherfield can be found. The echo is
the repetitive pattern that Mr. Darcy insists Elizabeth imposes her own “opinion” on him,
although at the beginning of their acquaintance, their relationship appears to be more
hostile. Mr. Darcy’s retort was more severe in reply to Elizabeth’s judgment of his
inflexible character, which did not allow sympathy for his friend Mr. Bingley’s lack of
conviction. The previous time, he was obstinate and harsh, refuting with his verbal irony
that Elizabeth was claiming “opinions” she chose to call his yet he never acknowledged
(Austen, 2003:48). The same echo is referred to at a more pleasant time seen in the first
premise of the neutral dominant phase, and he has become softened due to his growing
affection for Elizabeth. When challenged by Elizabeth’s criticism for having a character
incapable of holding a conversation, he replies with witty banter carried through his irony
that Elizabeth is consulting her feelings “in the present case,” meaning Elizabeth has been
persistently opinionated about his character flaws (Austen, 2003: 92). Mr. Darcy
continues with this similar echo to the reader and Elizabeth, entailing the message that
Elizabeth is still prejudiced and critical of his character. The echoic allusion can be found
within PER31.01, which recalls Elizabeth and Mr. Darcy’s conversation about Mr.
Wickham at the Netherfield ball (Austen, 2003: 92). At the end of the Netherfield ball
when the two characters parted, Mr. Darcy realized that Elizabeth had allowed her
prejudice against him to grow after Mr. Wickham’s claim regarding Mr. Darcy’s
character. Mr. Darcy alludes to the fact that Elizabeth permitted herself to be influenced
by Mr. Wickham regarding her opinion of Mr. Darcy, where the dual meaning refers to
her adopting Mr. Wickham’s opinions; therefore Elizabeth was proclaiming Mr.
Wickham’s views of Mr. Darcy that he is exceedingly proud and spiteful (Austen, 2003:
78-80). Mr. Darcy emphasizes her prejudicial views against him based on Mr. Wickham
to convey to Elizabeth that she has not offered a fair assessment of his character because
her judgment is founded on Mr. Darcy’s initial slight of her and Mr. Wickham’s
deleterious account of him. Therefore, in PER31.01, besides Mr. Darcy’s echoic allusion
to insist Elizabeth’s critical “opinions” construct her character as being judgmental and
prejudiced, PER 31.01 specifically refers to Elizabeth’s judgment of him with regard to
Mr. Wickham at Netherfield (Austen, 2003: 48). Although Mr. Darcy’s present echo is
much more benevolent than his original allusion to her pejorative nature, he is echoing
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Chapter 5 Data Analysis (Total 81 PERs)
Elizabeth’s reference of her opinions to criticize his character. Through Mr. Darcy’s
ironic banter, he continues to construct Elizabeth’s character as judgmental, however in
the neutral dominant phase his claims against her character are more civil than earlier in
the plot.
Elizabeth responds to Mr. Darcy with her own banter in PER31.02, which is a
defense against Mr. Darcy’s character portrayal of her as biased. In stating that Mr. Darcy
is able to “expose” her true character, she ironically conveys that Mr. Darcy does not
know her true character, and enjoys making erroneous assessments of her. Her literal
meaning states to the readership and other characters present that she has been caught by
Mr. Darcy, when she had hoped to deceive them by concealing her true character.
However, the incongruity lies in that her figurative meaning is quite different, that Mr.
Darcy is wrong about his perception of her true character. Her inclusion of the words “a
part of the world where [she] had hoped to pass [herself] off with some degree of credit”
(Austen, 2003: 170) alludes to her surprise at meeting Mr. Darcy again, because she did
not expect to encounter him on her trip to visit Charlotte and Mr. Collins. Elizabeth has
been caught off guard by Mr. Darcy’s arrival, and thus reverts to her witty banter to
interact with him. In this dialogue the two are interacting more pleasantly, although a
trace of apprehension remains. She also alludes to Mr. Darcy’s delight in teasing her,
illustrating his character development. Earlier in the novel, Mr. Darcy’s demeanor was
stoic, and his irony was ruthless compared to the present ironic banter. Their irony is
light-hearted, unlike their outlook at the Netherfield ball, meaning their tempers have
leveled.
Elizabeth accuses him of provoking her, and facetiously threatens to reveal things
about his character which would “shock [his] relations to hear” (Austen, 2003: 170). Mr.
Darcy responds to her threat with a reciprocal dare, claiming that Elizabeth’s threat does
not frighten him, and conveying to her that she may proceed.
(COM31.01) “Indeed, Mr. Darcy, it is very ungenerous in you to mention all
that you knew to my disadvantage in Hertfordshire—and, give me leave to say,
very impolitic too—for it is provoking me to retaliate, and such things may
come out, as will shock your relations to hear.” (Elizabeth)
(COM31.02) “I am not afraid of you,” said he, smilingly. (Mr. Darcy)
(Austen, 2003: 170)
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Chapter 5 Data Analysis (Total 81 PERs)
Elizabeth’s irony in COM31.01 is an overstatement, emphasizing that she knows secrets
about Mr. Darcy’s character, alluding to her own ability to reveal his true character. The
commissive speech acts literally commit Mr. Darcy and Elizabeth to their threats or
dares, providing an ideal example of Leech’s banter (refer to section 2.4.3.3 for the banter
principle). They are seemingly impolite on the surface, yet the intended meaning is to
tease each other, according to Leech’s banter principle. They feign impoliteness as a way
to show their solidarity, for they are closer in their community now and have a better
understanding of each other’s temperament. The progression to civil banter reveals the
two have forgiven the earlier spat at Netherfield which kept them separated for an
extended period of time. The ironic banter present within this dialogue is representative
of the neutral dominant phase of characterization, for the two are no longer at odds with
each other as they were in the disagreement dominant phase.
Mr. Darcy responds with a smile, revealed through the narrative. His reaction to her
banter at this time highlights the change within Mr. Darcy’s character, for during their last
encounter he responded to Elizabeth “coldly” (Austen, 2003: 92). The effect of
Elizabeth’s verbal irony on him is reflected in his pleasant demeanor, accepting
Elizabeth’s ironical jabs at him. Elizabeth follows through with her ironical threat to
“expose” him to his relatives, and begins her revelation of something “dreadful” to
exaggerate his true character defect. The irony in her banter is to portray Mr. Darcy as an
appalling person for what he did at the Meryton ball; however the development of their
relationship to engage in civil banter reveals that she is just teasing Mr. Darcy for his
previous offenses. She is conveying to him that she has not forgotten his past prideful
behavior and her story is evidence of this.
(COM31.03) “You shall hear then” (Elizabeth)
(DIR31.02) “—but prepare yourself for something very dreadful. The first time
of my ever seeing him in Hertfordshire, you must know, was at a ball”
(Elizabeth)
(DIR31.03) “—and at this ball, what do you think he did?” (Elizabeth)
“He danced only four dances, though gentlemen were scarce; and, to my certain
knowledge, more than one young lady was sitting down in want of a partner.
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Chapter 5 Data Analysis (Total 81 PERs)
Mr. Darcy, you cannot deny the fact.” (Elizabeth)
(Austen, 2003: 170-171)
Elizabeth proceeds to tell the party that Mr. Darcy refused to dance with women who
were in need of a dance partner at the Meryton ball. She teasingly overstates Mr. Darcy’s
misconduct in order to build up the suspense before revealing the truth, which is not
abominable but his behavior would be considered ill-mannered during this time in
Regency England for lack of propriety. He responds with an ironical justification of his
actions.
(PER31.03) “I had not at that time the honour of knowing any lady in the
assembly beyond my own party.” (Mr. Darcy)
(ASR31.03) “True; and nobody can ever be introduced in a ball-room.”
(Elizabeth)
(PER31.04) “Perhaps,” said Mr. Darcy, “I should have judged better, had I
sought an introduction; but I am ill-qualified to recommend myself to
strangers.” (Mr. Darcy)
(Austen, 2003: 171)
To defend himself against Elizabeth’s account of his misconduct in Meryton, Mr. Darcy
responds with PER31.03. In PER31.03, Mr. Darcy states in his literal meaning that it is
an “honour” to know Elizabeth now, and he did not have this honor at when the two first
met at the Meryton ball. The incongruity in his utterance is attributed to the fact that at
the time, he would not have considered it an honor to know Elizabeth. He is mentioning
his past behavior and judgment regarding Elizabeth that he preemptively formed before
he had ever spoken to her. The illocutionary act in PER31.03 seeks to convey to Elizabeth
that he would not have felt honored to know her due to pride from his higher social
position, revealing the irony in his utterance through the intended meaning. In PER31.03,
the perlocutionary act for Elizabeth’s uptake is that he is prideful and will defend his
actions because his social class is above reprieve. This echo is shared by Elizabeth and
Mr. Darcy, for they are the only two characters who are aware of the figurative meaning
in his statement of defense. He is still reluctant to openly admit to a fault; however his
disposition has become less proud and defensive after Elizabeth’s accusations.
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Chapter 5 Data Analysis (Total 81 PERs)
He manages to gracefully attempt to excuse his behavior while not blatantly
disagreeing with Elizabeth, illustrating his acquiescence to her during their battle of wits.
In the disagreement dominant phase, Mr. Darcy defends his honor against Elizabeth by
any means possible, even if he had to use cruelty and deride his closest friends in order to
riposte. Now in the neutral dominant phase, Mr. Darcy has restrained his pride in light of
his romantic interest in Elizabeth. Elizabeth retorts with an ironical assertive,
acknowledging literally that it was impossible for him to be introduced. The hyperbolic
justification of Mr. Darcy’s behavior provides an ironical utterance that conveys Mr.
Darcy’s excuse is unfounded. When she says “true,” the criticism appears to be harsh,
openly ridiculing Mr. Darcy for his excuse of shyness.
In PER31.04, Mr. Darcy admits that he may have had a different perception of
Elizabeth had he introduced himself to her that night in Meryton, in that the dual meaning
of his utterance conveys to Elizabeth that they both might have held different viewpoints
of each other had they been properly introduced in the beginning. This admission is
reflective of the great impact Elizabeth has had on Mr. Darcy’s moral character.
Previously, his pride would have prevented him from believing, especially admitting, he
could be wrong about his judgment. Mr. Darcy retains his pride, yet does not allow it to
rule his character in such a way as earlier in the disagreement dominant phase. His pride
maintains the defense of his character by claiming he is “ill-qualified” to introduce
himself to strangers, which Elizabeth considers a mocking response from a man who is
clearly well-qualified to introduce himself due to his social station. In fact, further
incongruity lies in his echo of Mr. Bingley in the first dialogue, because Mr. Bingley
initially sought to “introduce” Mr. Darcy and Elizabeth (Austen, 2003: 13). However, Mr.
Darcy rejected Mr. Bingley’s proposition, of which Elizabeth is aware and echoes to tease
him. Thus, Mr. Darcy’s excuse that he cannot recommend himself to strangers is false for
he was not expected to introduce himself to Elizabeth in the beginning. He feigns
intimidation by strangers so that he is unable to approach them to shield his pride from
injury due to Elizabeth’s mocking suggestion that Mr. Darcy behaved without decorum.
Mr. Darcy continues his defense in PER31.05 by comparing himself with others who
are more sociable and converse with ease.
(PER31.05) “I certainly have not the talent which some people possess," said
Mr. Darcy, “of conversing easily with those I have never seen before. I cannot
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Chapter 5 Data Analysis (Total 81 PERs)
catch their tone of conversation, or appear interested in their concerns, as I often
see done.” (Mr. Darcy)
(ASR31.05) “My fingers," said Elizabeth, "do not move over this instrument in
the masterly manner which I see so many women's do. They have not the same
force or rapidity, and do not produce the same expression.” (Elizabeth)
(PER31.06) “But then I have always supposed it to be my own fault—because I
will not take the trouble of practising.” (Elizabeth)
(Austen, 2003: 171)
PER31.05 is ironical due to the duality in meaning, for when Mr. Darcy says “some
people” he is referring to Elizabeth. Specifically, Mr. Darcy’s allusion is to Elizabeth’s
amenable attitude which makes her social compared to Mr. Darcy. His intended meaning,
hidden behind his meager excuse, is that in fact his social station places him above
obligation to socialize and appear amenable to others. Superiority theory explicates his
irony in PER31.05 for he asserts his presumed privilege as a male of higher social class
to act as he sees fit in any social situation, and may disregard social requirements. He is
figuratively constructing his own character as superior to Elizabeth and the others at the
ball in Meryton, illustrating his proud nature. Elizabeth counters Mr. Darcy’s ironical
performative utterance with an analogy to convey to Mr. Darcy that he has control over
his own actions, and there is nobody to blame but himself for his misconduct.
In PER31.06, Elizabeth continues with the analogy through civil banter, informing
Mr. Darcy that any deficiency in his character is his own fault, and cannot be attributed to
any reason other than the fact that he makes no effort to converse and be friendly with
others. In PER31.06, Elizabeth’s duality in meaning reveals her uptake of Mr. Darcy’s
excuses for his inadequate behavior at Meryton ball. She insinuates that his social status
is not a rationale for his disrespect toward others, and he need not hide behind an excuse
when he frequently affirms his high class to avoid social decorum. Elizabeth constructs
both Mr. Darcy’s and her own characters through PER31.06 by admitting her own flaws
and illustrating herself as humble, indicating to Mr. Darcy that he should set aside his
own proud nature. By stating that it is “my own fault,” the perlocutionary act of
PER31.06 of her proposition is incongruous to indicate Mr. Darcy’s own fault for his
uptake of her verbal irony.
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Chapter 5 Data Analysis (Total 81 PERs)
Elizabeth continues her ironical constructive evaluation of Mr. Darcy’s character in
PER31.07 through further analogy using herself as the example.
(PER31.07) “It is not that I do not believe my fingers as capable as any other
woman’s of superior execution.” (Elizabeth)
(ASR31.06) “You are perfectly right. You have employed your time much
better. No one admitted to the privilege of hearing you can think anything
wanting.” (Mr. Darcy)
(PER31.08) “We neither of us perform to strangers.” (Mr. Darcy)
(Austen, 2003: 171)
Through her verbal irony in PER31.07, Elizabeth’s figurative meaning conveys that Mr.
Darcy should hold himself accountable for his behavior, because from her perspective he
makes every attempt to justify himself to her accusations. PER31.07 juxtaposes
Elizabeth’s and Mr. Darcy’s characters through a contrast in Elizabeth’s humility and Mr.
Darcy’s pride. By stating that she knows she is “capable” of succeeding in playing the
piano if she were to try, Elizabeth conveys to Mr. Darcy that she believes him capable of
changing his moral character to become more akin to her own. Elizabeth thus constructs
his character from a more positive perspective than in the past, considering him to be
“capable” of reforming his moral character. Elizabeth’s ironic banter is allowing Mr.
Darcy to see himself from a new angle, highlighting the areas in which he can improve
his character to be more benevolent.
Appearing unfazed by her ironical judgments of him, Mr. Darcy compliments
Elizabeth’s piano-playing in response. He defers to her in banter, allowing her victory
over him in the ironical battle of wits which displays their views of each other. In
PER31.08, Mr. Darcy ironically echoes their conversation at the Netherfield ball, when
Elizabeth claimed they had a “similarity” in their minds (Austen, 2003: 90). His use of
“we” and “us” in the ironical performative utterance is simultaneously constructing both
his own and Elizabeth’s characters, reflecting their shared community. Mr. Darcy’s
figurative meaning in PER31.08 conveys that he and Elizabeth are not strangers, for they
now have a better understanding of the other’s character and have grown to enjoy the
ironic banter with each other, the climax of their character development. The incongruity
in PER31.08 lies in his reference to performing to strangers; it figuratively means to
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Chapter 5 Data Analysis (Total 81 PERs)
indicate their closeness. Mr. Darcy stresses his shared community with Elizabeth through
their frequent use of verbal irony. The illocutionary act in PER31.08 ironically conveys
that the two characters are not “strangers” because their verbal ironies have drawn them
closer. The irony within his perlocutionary act intended for Elizabeth’s uptake is that their
personalities are similar despite her attempt to contrast their characters. His allusion
contradicts his earlier statement that Elizabeth was an acquaintance, because he and
Elizabeth are no longer mere acquaintances through the community they have formed.
Mr. Darcy’s insinuation refers to his belief that Elizabeth is more like him than she would
prefer to believe or admit.
The second premise of the neutral dominant phase of characterization illustrates Mr.
Darcy and Elizabeth’s altering relationship through their ironic banter, which displays
their growing affections for each other. There are 8 performative speech acts in the
second premise, continuing the decrease from the disagreement dominant phase. The
ironical performative utterances grow fewer and more benevolent in this premise due to
Mr. Darcy and Elizabeth’s past interactions; they have had ample time in the
disagreement dominant phase to form their perceptions of each other’s character, and are
now mainly demonstrating their changing outlooks. The banter oscillates in the neutral
dominant phase, revealed at the end of the previous premise from Chapter 18, and a swift
change from civil banter to outright discord will be shown in the next premise of this
phase, where a catharsis takes place between Elizabeth and Mr. Darcy in a vital point of
their relationship.
5.3.3 Revelation: 4 PERs
5.3.3.1 Proposal
In this dialogue from Chapter 34, Mr. Darcy and Elizabeth encounter a major
turning point in their relationship after Mr. Darcy proposes to Elizabeth. She is taken by
surprise at his outburst, confessing his love for her that he has been fighting for some
time. Elizabeth believes that Mr. Darcy is partially responsible for intentionally
separating Mr. Bingley and Jane, and therefore causing Jane much heartache as she had
grown to care for Mr. Bingley (Austen, 2003: 186). In this final dialogue of the neutral
dominant phase, Elizabeth and Mr. Darcy revert from playful banter found in their
previous dialogue to ironical attacks on each other, with a full display of emotion. Mr.
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Chapter 5 Data Analysis (Total 81 PERs)
Darcy’s confession is the catalyst for the drastic turn in the progress of their developed
community through ironic banter; he offends Elizabeth’s pride yet again, a transgression
for which she cannot easily forgive him. Elizabeth displays her independence and
feminist attitude in this dialogue, as she does not conform to the behavior that is expected
of her in society, to accept Mr. Darcy’s hand in marriage. Mr. Darcy is an eligible single
man by any standards of the time, however he allows his arrogance to pervert the
proposal and slights Elizabeth, engendering anger over both his pride and lack of
consideration for Jane’s and Mr. Bingley’s feelings.
“In vain have I struggled. It will not do. My feelings will not be repressed. You
must allow me to tell you how ardently I admire and love you.” (Mr. Darcy)
. . . .
(PER34.01) “The feelings which, you tell me, have long prevented the
acknowledgment of your regard, can have little difficulty in overcoming it after
this explanation.” (Elizabeth)
(Austen, 2003: 185-186)
Elizabeth’s reply to Mr. Darcy’s confession of love and marriage proposal illustrates her
lack of affectation. She uses overt irony as a defense to conceal her injured pride, coldly
rejecting Mr. Darcy’s offer. PER34.01 ironically echoes Mr. Darcy’s pride; she claims
that if he was able to conceal his “regard” for her due to his pride and prejudice against
her social standing, then he should find it easy to allow these “feelings” to forget his
romantic intentions for her. In PER34.01, the perlocutionary act reveals through the
duality in Elizabeth’s verbal irony that Mr. Darcy has prevented the acknowledgment of
his love for Elizabeth for a “long” time, and Mr. Darcy should have “little difficulty in
overcoming it.” In her use of irony, Elizabeth is displaying her independence in
opposition to Mr. Darcy, affirming herself over him and his beliefs of how Elizabeth
should have reacted. She is defying social norms by rejecting him to injure his pride and
in turn to show her own pride, Elizabeth constructs both her true character and Mr.
Darcy’s flawed character through the intended illocution, emphasizing “you tell me” in
PER34.01. According to superiority theory, Elizabeth criticizes Mr. Darcy in her verbal
irony, affirming her own beliefs at the expense of Mr. Darcy’s pride. Her retort intends to
injure Mr. Darcy’s pride as he has managed to injure hers, for the second time (for their
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Chapter 5 Data Analysis (Total 81 PERs)
first time at the Meryton ball, see section 5.2.1.1). Her character portrayal of Mr. Darcy in
PER34.01 constructs him to be cold, and mockingly insinuates he should maintain
control over his feelings as he has done up until this point.
Mr. Darcy, angered by her unexpected refusal to his marriage proposal, ironically
demanded to know the cause of her lack of civility in rejecting him. Mr. Darcy believes
that the only reason she declined his proposal is that her pride had been injured by his
frankness, yet Elizabeth explains her reason is simple: she does not care for him, and
even if she did, she could never be expected to accept a marriage proposal from a man
who caused her sister Jane’s sorrow. She reacts further, mentioning Mr. Wickham, a
known source of tension for Mr. Darcy.
“Long before it had taken place my opinion of you was decided. Your character
was unfolded in the recital which I received many months ago from Mr.
Wickham.” (Elizabeth)
. . . .
“You take an eager interest in that gentleman's concerns,” said Mr. Darcy, in a
less tranquil tone, and with a heightened colour. (Mr. Darcy)
“Who that knows what his misfortunes have been, can help feeling an interest in
him?” (Elizabeth)
(PER34.02) “His misfortunes!" repeated Mr. Darcy contemptuously; "yes, his
misfortunes have been great indeed.” (Mr. Darcy)
(Austen, 2003: 187)
After Elizabeth’s defense of Mr. Wickham, Mr. Darcy is indignant. He proclaims
ironically in PER34.02 that Mr. Wickham’s misfortunes were “great indeed.” The
insincerity seethes through Mr. Darcy’s utterance, revealing the irony in his direct
quotation, “his misfortunes,” of Elizabeth’s allusion of Mr. Wickham’s misfortunes. Irony
is located through dualities in Mr. Darcy’s referencing his own misfortunes and his direct
echoing of Elizabeth claiming Mr. Wickham’s “misfortunes.” Mr. Darcy quotes Elizabeth
in his response to her twice to emphasize his conflicting opinion. According to the echoic
account, verbal irony can be found within this interjection, in this case a direct quotation
explicitly echoing Elizabeth’s original thought. The duality lies in Mr. Darcy’s cynical
attitude towards Elizabeth’s belief that Mr. Wickham was the unfortunate one, contrary to
the intended meaning, which is that Mr. Darcy’s family suffered misfortune from Mr.
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Chapter 5 Data Analysis (Total 81 PERs)
Wickham’s wrongdoings. Elizabeth has yet to learn of the true account of Mr. Wickham
from Mr. Darcy, therefore she is unaware that Mr. Wickham is the culprit who wronged
Mr. Darcy’s family. In PER34.02 Mr. Darcy’s echo alludes to the deception Mr. Wickham
has spread to Elizabeth, with an intended meaning that Mr. Wickham is not the victim of
Mr. Darcy’s wrongdoing, and any misfortunes he may have are the work of his own hand.
His intended meaning is to reveal the truth of Mr. Wickham’s account, constructing Mr.
Wickham as the perpetrator instead of the victim Elizabeth believes him to be. In
PER34.02 Mr. Darcy angrily ridicules Elizabeth’s belief of the matter between himself
and Mr. Wickham, claiming the superiority of his own knowledge over her misguided
beliefs based upon Mr. Wickham’s lack of divulging the entire account truthfully.
Elizabeth, unaware that Mr. Darcy has a justification for his behavior towards Mr.
Wickham, defends Mr. Wickham’s account to Mr. Darcy, accusing Mr. Darcy of
misconduct.
“You have withheld the advantages which you must know to have been
designed for him. You have deprived the best years of his life of that
independence which was no less his due than his desert. You have done all this!
[A]nd yet you can treat the mention of his misfortune with contempt and
ridicule.” (Elizabeth)
“And this,” cried Mr. Darcy, as he walked with quick steps across the room, “is
your opinion of me! This is the estimation in which you hold me!” (Mr. Darcy)
(ASR34.04) “I thank you for explaining it so fully.” (Mr. Darcy)
(PER34.03) “My faults, according to this calculation, are heavy indeed!” (Mr.
Darcy)
(Austen, 2003: 187-188)
Incredulous, Mr. Darcy reacts to Elizabeth’s accusations with increased anger at her
revelation of her true feelings toward him. This is the breaking point at which Mr. Darcy
and Elizabeth create a division between themselves, coming full circle to total opposition
in their opinions regarding each other’s characters. PER34.03 rejects Elizabeth’s
“calculation” of his character through overt irony. Incongruity reveals the irony through
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Chapter 5 Data Analysis (Total 81 PERs)
his admission that his faults are great, however Mr. Darcy’s intention is to convey to
Elizabeth that her assessment of his character based on Mr. Wickham’s opinions is
severely incorrect, and that while he may have a flawed character he is not guilty of what
Elizabeth believes him to have done. By saying “according to this calculation” Mr. Darcy
emphasizes that the fault only exists in Elizabeth’s perception and is not the reality of the
situation involving him and Mr. Wickham. He shoots down Elizabeth’s accusation with
ridicule in an attempt to alert Elizabeth to his own opposing beliefs which reflect the facts
of the account.
Mr. Darcy releases his present incensed opinions, without holding back for the sake
of manner and civility. He tells Elizabeth that had he not injured her pride by his “honest
confession of the scruples that had long prevented [him from] forming any serious
design” she may have “overlooked these offences” she finds in his character. He defends
his honesty, and exclaims that he abhors “disguise of any kind” (Austen, 2003: 188).
Elizabeth denies that the way in which he expressed his feelings had anything to do with
her decision to reject the proposal.
“You are mistaken, Mr. Darcy, if you suppose that the mode of your declaration
affected me in any other way, than as it spared me the concern which I might
have felt in refusing you, had you behaved in a more gentlemanlike manner.”
(Elizabeth)
. . . .
(PER34.04) “You could not have made the offer of your hand in any possible
way that would have tempted me to accept it.” (Elizabeth)
. . . .
“From the very beginning—from the first moment, I may almost say—of my
acquaintance with you, your manners, impressing me with the fullest belief of
your arrogance, your conceit, and your selfish disdain of the feelings of others,
were such as to form the groundwork of disapprobation on which succeeding
events have built so immovable a dislike; and I had not known you a month
before I felt that you were the last man in the world whom I could ever be
prevailed on to marry.” (Elizabeth)
(Austen, 2003: 188)
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Chapter 5 Data Analysis (Total 81 PERs)
In PER34.04, Elizabeth’s irony echoes Mr. Darcy’s slight against her from their first
encounter at Meryton ball. Her use of the word “tempted” is a direct echo of Mr. Darcy’s
use of the word in the first dialogue of the disagreement dominant phase, conveying that
any attraction she may have had to him has been erased and she has gone back to
despising him once again. Elizabeth’s verbal irony emphasizes the figurative meaning
through the literal meaning, which is a hyperbole. By saying “any possible way” she
articulates to Mr. Darcy that he has no chance of obtaining her affection, and that there
was nothing he could have done to convince her to marry him. However, as the
agreement dominant phase will reveal, she retracts this proclamation that she would
never accept him by altering her perceptions. Elizabeth’s echoic allusion in PER34.04 is a
vital point in the dialogue which emphasizes the importance of verbal irony in her and
Mr. Darcy’s character constructions. The irony displays both Elizabeth’s and Mr. Darcy’s
perceptions of each other through their echoic allusions to past behavior or utterances
which they each feel is evidence that their character assessments have been accurately
made by each other.
The connection of this dialogue to the first dialogue (refer back to section 5.2.1.1 for
the Initial Meeting dialogue) in the analysis from the disagreement dominant phase
illustrates the regression of their relationship from the verbal irony. Verbal irony first
drove them apart in Chapter 3 of the novel and is yet again driving a wedge between
them. The 4 performative speech acts in this dialogue complete the final premise of the
neutral dominant phase of characterization, making the total number of ironical
performative speech acts present 24. The continued decrease in the number of
performative speech acts reflects the alteration in Mr. Darcy and Elizabeth’s
characterization. The ironical performative speech acts are fewer because Mr. Darcy and
Elizabeth have fully expressed their views of each other, and have reached a purgative
point in constructing each other’s characters.
5.4 Agreement Dominant Phase: Inner Self (10 Total PERs)
The final section is designated the agreement dominant phase of characterization,
which contains two premises to explicate the underlying ideas of the thematic dialogues.
The agreement dominant phase, found from Chapter 46 through 61 of the novel, brings a
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Chapter 5 Data Analysis (Total 81 PERs)
new view of how Elizabeth has completely made an impact on Mr. Darcy’s character
throughout the novel. Finally, Elizabeth and Mr. Darcy come to love each other in
contrary to their malevolent relationship in the disagreement dominant phase. Therefore,
the verbal irony she uses is more friendly and pleasant. Each premise has only one
dialogue, and the final phase of characterization is shorter relative to the other phases. In
the final chapters of the novel, the character development has culminated and both
Elizabeth and Mr. Darcy finally reveal their love and inner selves to each other. We
designate this as agreement dominant phase because the few remaining ironical
utterances are not critical in nature but in fact playful and friendly. In the agreement
dominant phase, there are fewer ironies than in the previous two phases, and the lack of
irony signifies a point at which they solidify their shared community when the two
characters come to love each other. In this phase, there are 10 ironical performative
speech acts (found in Chapters 58 and 60 of the novel) Mr. Darcy and Elizabeth’s
characterization is finally complete as Mr. Darcy has become remorseful and benevolent
compared to his earlier characteristics, and Elizabeth has realized her own prejudice
prevented her from seeing Mr. Darcy become a noble man.
After the dispute at the end of the neutral dominant phase, Mr. Darcy and Elizabeth
part on most displeasing terms without promise of reconciliation. However, Mr. Darcy
immediately produces a letter which Elizabeth is obliged to read the next morning after
her refusal of his marriage proposal. His letter contains an attempt to redress his previous
behaviors in light of his own realization that his actions toward Elizabeth were
unacceptable, proof that Elizabeth’s determinations of him being exceedingly proud were
accurate, yet her perceptions were not a complete account of his character. Afterward,
through other characters’ accounts Elizabeth begins to see Mr. Darcy in a new manner,
becoming aware of the benevolence within his character. These events placate her
negativity to some degree. The tragedy of her sister Lydia eloping with Mr. Wickham
further confirms Mr. Darcy’s recount of Mr. Wickham’s decadent nature and leaves
Elizabeth open to the reintroduction of Mr. Darcy into the conversational venue featured
with Elizabeth’s earnest language and Mr. Darcy’s eagerness to assist.
The third phase of characterization presents the final scene of redemption between
Mr. Darcy and Elizabeth, although at first, Elizabeth makes a point to avoid, therefore
observe, Mr. Darcy and consequently during a lull in their communication there are few
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Chapter 5 Data Analysis (Total 81 PERs)
instances of irony. In the final phase of analysis, verbal ironies between Mr. Darcy and
Elizabeth come across as apologetic and are full of modesty and remorse, for example in
Chapter 58, where Mr. Darcy tries to staunch Elizabeth’s gratitude while modestly
affirming his own generosity when he says, “If you will thank me… let it be for yourself
alone” (Austen, 2003: 346). This is a significant transformation from the earlier chapters
in the disagreement dominant phase where the verbal ironies were used as weaponry to
provoke each other—contrasting irony offers a sense of solidarity and assuagement to the
Bennets’ painful family matters. By the close of the novel, Elizabeth has completely lost
her airs of prejudice against Mr. Darcy and her characterization is shown through her
ironical performative speech acts. However, she wryly alludes to characterizing her witty
nature in light of her final acceptance of Mr. Darcy, and acts as her peer Caroline had
done earlier in the novel, fawning over his talents. Dialogue between Mr. Darcy and
Elizabeth ends on this note, and the chapter wraps up with letters announcing their
engagement.
5.4.1 Reconciliation: 1 PER
5.4.1.1 Gratitude
The first dialogue of the agreement dominant phase of characterization is set in
Chapter 58 of the novel, the first time Elizabeth and Mr. Darcy meet after Mr. Darcy has
rectified the situations with Lydia and Jane. There is one ironical performative speech act
in the conversation between Mr. Darcy and Elizabeth. This dialogue represents a key
point in Mr. Darcy and Elizabeth’s characterization because they are able to reconcile
their past differences and confess their love for each other. Lydia inadvertently alerted
Elizabeth to Mr. Darcy’s role in securing the marriage with Mr. Wickham, and Elizabeth’s
aunt confirmed his assistance to save the family’s disgrace, but Mr. Darcy did not wish
for anyone to find out he was behind it. Elizabeth tried to remain silent about the fact that
she knew Mr. Darcy was dedicated to salvaging Lydia’s predicament, out of respect for
Mr. Darcy’s wishes for no one to know. However, she was finally unable to hold back,
and expressed her thanks to Mr. Darcy for his “compassion.”
“Let me thank you again and again, in the name of all my family, for that
generous compassion which induced you to take so much trouble, and bear so
many mortifications, for the sake of discovering them.” (Elizabeth)
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Chapter 5 Data Analysis (Total 81 PERs)
(PER58.01) “If you will thank me, ” he replied, “let it be for yourself alone.”
(Mr. Darcy)
“That the wish of giving happiness to you might add force to the other
inducements which led me on, I shall not attempt to deny. But your family owe
me nothing. Much as I respect them, I believe I thought only of you.” (Mr.
Darcy)
(Austen, 2003: 346)
Elizabeth gave Mr. Darcy her sincere thanks on behalf of her family, acknowledging the
effort he made to help Lydia and her family avoid an infamous reputation. Mr. Darcy’s
reply is indicative of his reformed moral character, due to Elizabeth’s great impact on him
throughout their characterization. In PER58.01, Mr. Darcy proclaims through his ironical
performative speech act his desire for Elizabeth to thank him on her own account. With
his illocutionary act in PER58.01, he is constructing her character from his hope that she
returns the feelings which he still holds for her. The figurative meaning references his
wish for Elizabeth to set aside her pride and thank him for herself. In addition, PER58.01
constructs Mr. Darcy’s own character through his innate pride, indicating he will not be
satisfied until Elizabeth submits to humility before him. Mr. Darcy ironically hints his
own pride is now justified through his actions and this time Elizabeth cannot object. The
irony in PER58.01 is revealed through the duality, found within the perlocutionary act.
The perlocutionary act of PER58.01 is that Mr. Darcy wishes Elizabeth to display her
own feelings, and not thank him out of a sense of obligation. On the surface, he asks for
her own gratitude, not for the thankfulness of her family who is unaware of what Mr.
Darcy has done for them. Mr. Darcy’s intended meaning conveys to Elizabeth that he
wishes her to reveal her love for him, as he suspects she may have. In saying “let it be for
yourself alone,” Mr. Darcy is enticing Elizabeth to confess her love for the sake of her
own happiness.
In PER58.01, Mr. Darcy still assumes his superior stance but in a more noble
manner than the previous phases. His pride led him to attempt to show Elizabeth his true
nature through an act of valor which she could not ignore. Mr. Darcy urges Elizabeth to
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Chapter 5 Data Analysis (Total 81 PERs)
accept that her disapproval of his character had not been completely fair, because she was
also flawed in her judgmental nature regarding him. In PER58.01, Mr. Darcy’s irony is an
understatement, displaying humility in his literal meaning although he is constructing
himself as a person who deserves respect from Elizabeth. Therefore, his performative
speech act works to reveal his own identity, illustrating his pride for he believes he
deserves Elizabeth’s personal thanks for saving Lydia from a ruined reputation. The
difference in his pride in the agreement dominant phase and the disagreement dominant
phase is that in this dialogue, his pride is justified, and therefore appropriate, because of
his great generosity to Elizabeth and her family.
He confesses his love for her has not changed since his proposal to her, but if her
feelings remained the same that he would never touch upon the subject again. Mr.
Darcy’s confession illustrates his altered persona from the disagreement dominant phase.
In the past, Mr. Darcy’s pride would have never offered Elizabeth a second proposal for
marriage after she had harshly snubbed him during the first, supported by his confession
that he could not easily forgive those who have wronged him (Austen, 2003: 56-57).
Elizabeth consents, and “immediately, though not very fluently, gave him to understand,
that her sentiments had undergone so material a change, since the period to which he
alluded, as to make her receive with gratitude and pleasure, his present assurances”
(Austen, 2003: 346). She was able to admit her own romantic feelings to Mr. Darcy only
after he had reassured her that his own love for her remained.
In this dialogue, it becomes clear to the reader that Mr. Darcy is an altered man in
Elizabeth’s eyes. Elizabeth has also changed her defensive exterior to reveal a genteel
side of her character which she had not exposed before Mr. Darcy, because her feelings
have completely altered in light of his generosity. The evidence is in Elizabeth’s lack of
verbal irony in her statements; she reveals her sincere gratitude to Mr. Darcy: “Mr. Darcy,
I am a very selfish creature; and, for the sake of giving relief to my own feelings, care not
how much I may be wounding yours. I can no longer help thanking you for your
unexampled kindness to my poor sister” (Austen, 2003: 345). Elizabeth’s sincerity with
Mr. Darcy reveals her own characterization occurring, as she displays earnest humility in
her gratitude. The fact that only one ironical performative speech act was identified in
this dialogue lends explanation to its relevance in the analysis. When their characters are
fully developed, verbal irony has been seen for friendly purposes in the agreement
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Chapter 5 Data Analysis (Total 81 PERs)
dominant phase, allowing Mr. Darcy and Elizabeth to playfully convey their inner
thoughts and sentiments. This dialogue illustrates the transition out of neutrality into ease
with each other, connecting their minds and coming to terms with their emotions.
5.4.2 One Mind through Friendly Banter: 9 PERs
5.4.2.1 Reflections
In the last dialogue found in Chapter 60, Mr. Darcy and Elizabeth have finally
embraced their love for each other and Elizabeth has accepted Mr. Darcy’s second
marriage proposal. Their dialogue entails them ironically describing their feelings for
each other, teasing in the fashion they frequently use through banter within their
community that has brought their emotions together as one. Elizabeth, delighting in her
recent engagement, questions Mr. Darcy about the moment he knew he loved her. Mr.
Darcy replies that he cannot pinpoint the moment he fell in love with her, but that by the
time he realized he harbored any romantic feelings for her at all he was already smitten.
Elizabeth promptly teases him, referencing their first encounter at the Meryton ball.
“How could you begin?” said she. “I can comprehend your going on
charmingly, when you had once made a beginning; but what could set you off in
the first place?” (Elizabeth)
“I cannot fix on the hour, or the spot, or the look, or the words, which laid the
foundation. It is too long ago. I was in the middle before I knew that I had
begun.” (Mr. Darcy)
(ASR60.01) “My beauty you had early withstood, and as for my manners—my
behaviour to you was at least always bordering on the uncivil, and I never spoke
to you without rather wishing to give you pain than not.” (Elizabeth)
(DIR60.01) “Now be sincere; did you admire me for my impertinence?”
(Elizabeth)
(PER60.01) “For the liveliness of your mind, I did.” (Mr. Darcy)
(Austen, 2003: 359)
In ASR60.01, Elizabeth employs ironic banter to ridicule Mr. Darcy for loving her,
sardonically claiming her faults when they first met; she describes herself as Mr. Darcy
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Chapter 5 Data Analysis (Total 81 PERs)
would have seen her, not as she perceived herself at the time, creating the duality within
the utterance due to the incongruities in her literal and intended meanings for Mr. Darcy.
The literal meaning of ASR60.01 describes Elizabeth as beautiful, yet improper and
vindictive. However, through derision she emphasizes these qualities in the figurative
meaning. Elizabeth displays her pride in claiming that she is beautiful to vindicate herself
from Mr. Darcy’s cruelness in the disagreement dominant phase, an echoic allusion to Mr.
Darcy’s description of her insufficient beauty during their first encounter at Meryton ball.
She further alludes to Mr. Darcy’s rudeness during the disagreement dominant phase by
describing herself as “uncivil” (Austen, 2003: 359), with a dual meaning that intends to
describe Mr. Darcy as lacking respect and wishing to bring her pain through his words.
Her verbal irony defends her pride, for she refutes Mr. Darcy’s immediate inspection of
her as not beautiful, in addition to showing off her vindictiveness in a playful manner.
In light of her lack of admirable qualities from his judgment of her upon their
acquaintance, Elizabeth deduces that he must have been enamored by her character flaws,
and therefore insists that it must have been her faults, namely her “impertinence” which
won him over. In DIR60.01 Elizabeth facetiously questions Mr. Darcy, instructing him to
reveal the reason for his romantic feelings. Based on her conduct toward him, evident in
her ironical utterances of the disagreement dominant phase when they were beginning to
get to know each other, she has no reason to believe otherwise, indicating that her literal
and figurative meanings are almost the same. Her ironical utterance DIR60.01 is ironic
banter, demonstrating their closeness. Her literal meaning is futile as the intended
meaning present in the irony is manifest. Elizabeth’s verbal irony is revealed through her
use of “impertinence” for it is not an admirable quality; therefore she teases Mr. Darcy
for the possible reasons he may have “admired” her. When irony is overtly displayed such
as in ASR60.01 and DIR60.01, the intended meaning behind the literal utterance is
completely transparent for the intended H.
Mr. Darcy responds with an ironical performative utterance, PER60.01 to construct
Elizabeth’s new identity from his perspective, for he has formed a new supposition in
agreement with her character alluding to the liveliness of her “mind.” The word “mind” is
clearly a direct echo and essentially a single-word direct quotation from Mr. Darcy when
he describes that an accomplished woman according to him must be focused on
cultivating “her mind" (Austen, 2003:39). Therefore, Mr. Darcy’s allusion to “mind”
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Chapter 5 Data Analysis (Total 81 PERs)
enhances the evidence of echoic irony.
In a larger picture, the echoic allusion found within his utterance is echoing his
views of Elizabeth upon their acquaintance by ironically stating that Elizabeth’s wittiness
was what interested him, and ridicules her by referring to her “impertinence” as a
character trait that has positive connotations, illustrating her unconventionality. Mr.
Darcy purposefully neglects to directly answer Elizabeth’s question, further revealing the
irony in the dual meaning of his compliment. First, Mr. Darcy agrees with Elizabeth that
she was impertinent, but remains silent on the matter while giving her one sincere reason
for his admiration. He claims, “I did” to emphasize his figurative meaning, that he did not
admire her for her impudence in the beginning, but rather admired the reason behind her
unpleasantness, i.e. the “liveliness of [her] mind.” Mr. Darcy purposefully specifies a
positive characteristic for Elizabeth to emphasize that he does not perceive her
“impertinence” to be a shade in character, likening it to an admirable quality in her
character. He gives “impertinence” a positive perspective to illustrate his views of
Elizabeth, offering her the highest praise, echoing his high standards for women’s
achievement. The incongruity in PER60.01 is revealed in Mr. Darcy’s countering
Elizabeth’s use of “impertinence” with “liveliness of your mind” because it illustrates her
profound impact upon his moral character. Through his confession, Mr. Darcy reveals
himself to be completely under Elizabeth’s feminist influence. The characterization for
Mr. Darcy to perceive Elizabeth’s exceptional character emphasizes the thematic premise
that the two characters share one mind. Elizabeth responds to his teasing with her own
ironical performative speech act to construct both her and Mr. Darcy’s characters.
(PER60.02) “You may as well call it impertinence at once.” (Elizabeth)
. . . .
“I roused, and interested you, because I was so unlike them. Had you not been
really amiable, you would have hated me for it; but in spite of the pains you
took to disguise yourself, your feelings were always noble and just; and in your
heart, you thoroughly despised the persons who so assiduously courted you.
There—I have saved you the trouble of accounting for it; and really, all things
considered, I begin to think it perfectly reasonable.” (Elizabeth)
(PER60.03) “To be sure, you knew no actual good of me—but nobody thinks of
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Chapter 5 Data Analysis (Total 81 PERs)
that when they fall in love .” (Elizabeth)
(Austen, 2003: 359)
Elizabeth and Mr. Darcy are engaged in ironic banter, stressing the changes in their
characterization. Elizabeth teasingly echoes Mr. Darcy’s perception of her in the
disagreement dominant phase, revealing that she has come to terms with the faults which
impeded her from constructing a positive view of Mr. Darcy in the beginning (Austen,
2003: 308-309). She retorts with her own ironical performative speech act PER60.02,
alerting Mr. Darcy of her uptake of his irony in PER60.01. Her figurative meaning which
reveals the irony, the perlocutionary act in PER60.02, is that she is aware Mr. Darcy
believed her impertinent and aware that he is being ironical by painting her character in a
positive light which contradicted his preliminary view of her in the beginning of their
relationship, for then Mr. Darcy would only look at her to “criticize;” Elizabeth is
echoing herself when she claimed “if I do not begin by being impertinent myself, I shall
soon grow afraid of him” (Austen, 2003: 25). The further incongruity for the
perlocutionary act to reveal the irony in PER60.02 is that Elizabeth regards her
“impertinence” as a positive character attribute, referencing her independent nature in
comparison to other women in Regency England.
In PER60.02, Elizabeth is constructing her own character through admitting her
impertinence to Mr. Darcy, being true to her unconventionality and boldness. She
emphasizes the fact that despite her unconventional character, Mr. Darcy has still grown
to love her, affirming her superior stance in character over his past prejudice against her.
His first observations of Elizabeth found her to have “more than one failure of perfect
symmetry in her form” and that “her manners were not those of the fashionable world”
(Austen, 2003: 24). Mr. Darcy disapproved of Elizabeth’s behavior, illustrated by his
reaction to her walking and arriving to Netherfield in an “untidy” state (Austen, 2003:
36). Elizabeth’s ironical overstatement is alluding to Mr. Darcy’s past views of her
character to illustrate the contrast between his initial perceptions of Elizabeth and his
realized love for her at present. Her irony, accentuating her feminist perspective and
willfulness which altered Mr. Darcy’s moral character, echoes Mr. Darcy’s
characterization and wisdom to accept her independent disposition, further emphasizing
her and Mr. Darcy’s present “one mind.”
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Chapter 5 Data Analysis (Total 81 PERs)
She proceeds to explain her understanding of what led him to fall in love with her,
assuring him that it was because he found her unconventionality inspiring, in order to
save him the trouble of explaining what engendered his love for Elizabeth. The banter is
present even without irony in her short explanation that Mr. Darcy was “roused, and
interested” by her because “[she] was so unlike them [e.g. Caroline]” (Austen, 2003:
359). She mocks Mr. Darcy for the fact that in spite of his desire to despise her for her
lower social standing and connections, he could not help but love her. She follows up
with another ironical performative speech act which teases Mr. Darcy for falling in love
with her. Elizabeth literally states in PER60.03 that Mr. Darcy saw no good in her,
conveying that he had no reasons to fall in love with her other than the reasons she
described: he was “disgusted with the women who were always speaking, and looking,
and thinking for [his] approbation alone” (Austen, 2003: 359).
Based on Elizabeth’s deduction, PER60.03 actively constructs Mr. Darcy’s character
from the new light in which she sees him, that he prefers a woman who is different from
the other traditional women in his social station, such as Caroline, who would attempt to
draw a man’s attention by acting agreeable to ingratiate him. Elizabeth alludes to his
appreciation of her nontraditional views and independent willfulness which separate her
from other women, also alluding to her reciprocal appreciation for his alternative outlook.
In PER60.03, Elizabeth is also facetiously echoing her mother’s views of marriage, from
a dialogue in the disagreement dominant phase in which Mrs. Bennet disregarded true
love as a prerequisite for marriage. She is mocking a traditional woman’s perspective of
love, ridiculing her mother, and other women she deems foolish when it comes to
marriage, such as Charlotte who married for economic stability instead of character
compatibility (Austen, 2003: 44, 123). In PER60.03, Elizabeth ironically compares
herself to the traditional women in her society in order to vindicate her own resolute mind
and unconventional personality. She is understating her independent character for she
believes Mr. Darcy is partially blinded by his love and is unable to realize all of her good
qualities. Elizabeth is displaying her pride by revealing to Mr. Darcy that his perceptions
of her good qualities and his view of her character are still limited despite their fulfilled
love and understanding.
Mr. Darcy counters Elizabeth’s claim that he knew nothing of the good in her by
referencing her devotion to Jane at Netherfield after Jane fell sick. His courteous attempt
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Chapter 5 Data Analysis (Total 81 PERs)
to show Elizabeth he saw some positive attributes in her is met with her witty modesty.
She responds with an ironical performative speech act PER60.04 which works to assign
characteristics to both Jane and Mr. Darcy.
(DIR60.02) “Was there no good in your affectionate behaviour to Jane while she
was ill at Netherfield?” (Mr. Darcy)
(PER60.04) “Dearest Jane! who could have done less for her? But make a virtue
of it by all means.” (Elizabeth)
(Austen, 2003: 360)
Through her verbal irony Elizabeth idolizes Jane’s character utilizing a rhetorical
question made to tease herself in her utterance PER60.04, emphasizing the universal
likeability of Jane’s character. She is also conveying to Mr. Darcy that he is giving her
more credit than she deserves for this compliment, as anyone would have done the same
for Jane; thus, her actions could not be considered a kindness, but a reflexive inclination.
In PER60.04, Elizabeth tells Mr. Darcy that he may assign her a virtue that overestimates
her moral character, but the incongruity in her utterance unveils the irony, because she is
teasing Mr. Darcy for his view that her behavior had some merit. She could not have
“done less” for Jane because of Jane’s goodness, and therefore her compassion for Jane
did not qualify as a virtuous quality. Elizabeth’s ironic banter illustrates her reluctant
acceptance of Mr. Darcy’s compliment, deflecting his praise, overly exaggerating Jane’s
good character in contrast to her own. Elizabeth portrays her own modesty by
emphasizing Jane’s kindness. Her irony PER60.04 appears to mock Mr. Darcy’s praise of
her being a virtuous person; however the two are simply engaging in ironic banter to
express their feelings for each other.
They each tease the other for falling in love echoing their conflicting societal views.
Elizabeth grows to love Mr. Darcy while previously his pride greatly offended her, and
Mr. Darcy also accepts his love for Elizabeth although originally he was opposed to
marrying her due to the “inferiority of [her] connections” (Austen, 2003: 188). Mr. Darcy
and Elizabeth formed their exclusive community through verbal irony and thus verbal
irony has become the primary mode of characterization, for they have a deep
comprehension of each other. In the agreement dominant phase of characterization, the
two protagonists have attained a level of comfort with each other, exemplifying the
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Chapter 5 Data Analysis (Total 81 PERs)
concept from ironic banter that one teases those whom one is closest to, with whom one
feels a certain level of ease. The increased use of banter in this dialogue illustrates the
great mutual understanding between Mr. Darcy and Elizabeth. They are not afraid of
offending the other and may use irony freely to express their affections through ridicule.
Elizabeth continues with her friendly irony to construct her own and Mr. Darcy’s
characters. She tells Mr. Darcy that he must emphasize her “good qualities” as often as he
can, while she on the other hand is in charge of finding opportunities to tease and quarrel
with him.
(PER60.05) “My good qualities are under your protection, and you are to
exaggerate them as much as possible;” (Elizabeth)
(PER60.06) “and, in return, it belongs to me to find occasions for teasing and
quarrelling with you as often as may be;” (Elizabeth)
(Austen, 2003: 360)
In her utterance PER60.05 Elizabeth is using an ironical overstatement to allude that Mr.
Darcy is currently attempting to “exaggerate” any admirable qualities that he believes her
to have in order to deflect her own critique of herself, with which she knows Mr. Darcy
agrees. PER60.05 alludes to Mr. Darcy’s past misconduct towards her in the
disagreement dominant phase and neutral dominant phase, and teasingly instructs him to
now behave in an opposite manner. Elizabeth jestingly proclaims that she and Mr. Darcy
have an arrangement for future interactions, ironically alluding to their modes of
expressing their love for each other. She is making note that he has altered his behavior.
Instead of attacking all of the traits which he found reprehensible, in this dialogue Mr.
Darcy is describing Elizabeth’s character to be rose-colored, i.e. her displeasing character
attributes he now deems to be attractive qualities. Elizabeth is referencing Mr. Darcy’s
attempts earlier in the dialogue to comment on her virtuous character, and defend her
“good qualities” whether or not these virtues are immense, for example in the case of her
caring for Jane. PER60.05 is also an echoic allusion to both her and Mr. Darcy’s earlier
character development in the neutral dominant phase when Elizabeth mockingly
threatened to “retaliate” by telling Mr. Darcy’s family of his transgressions for his ability
to expose her “real character” to Colonel Fitzwilliam (Austen, 2003: 170). PER60.05
echoes previous attempts to expose the negative attributes in each other’s character,
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Chapter 5 Data Analysis (Total 81 PERs)
however the verbal irony is utilized for banter between the two protagonists, emphasizing
their closeness within their own community.
Elizabeth’s echo in PER60.06 is alluding to her conversation with Mr. Darcy in the
disagreement dominant phase, where Elizabeth ironically claimed that Mr. Darcy could
not be “laughed at” (Austen, 2003: 56). At that time, she used verbal irony to conceal the
figurative meaning which she is displaying literally in the present dialogue; the
motivation behind Elizabeth’s verbal irony has changed. In the earlier phases of
characterization, she sought to ridicule Mr. Darcy in order to point out his flaws to him
according to her own perceptions. In the agreement dominant phase, Elizabeth openly
teases Mr. Darcy with verbal irony as a form of endearment, to illustrate her sentiments
for him, communicating by way of their shared community. The incongruity of irony
hinges on the echoic allusion where the two characters reminisce their past. Elizabeth’s
incongruity in PER60.06 is found within her use of the word “quarrelling.” In fact,
Elizabeth does not mean she wishes to quarrel with him but her ironical overstatement
intends to tell Mr. Darcy that she will instigate banter between the two of them. Elizabeth
echoes her and Mr. Darcy’s past interactions in the disagreement dominant phase,
reflecting their current developed characters. In her present irony, she is also alluding to
Mr. Bingley’s perception of her and Mr. Darcy’s “arguments,” echoing that their use of
verbal irony would appear to be a “quarrel” to outsiders excluded from their community.
For Mr. Darcy and Elizabeth, there is much enjoyment to be found in the exchanging of
wits, although third parties such as Mr. Bingley may perceive their ironical exchange as
an unfriendly “dispute” (Austen, 2003: 49-50).
Compelled by her curiosity, Elizabeth shifts to a more serious tone to inquire of Mr.
Darcy’s confusing behavior when he dined with her family. Given her recent realizations
of Mr. Darcy’s feelings of love, Elizabeth was confused by Mr. Darcy’s silence during the
dinner. She was inquisitive about the moment that they met again after their sudden
separation upon notice of Lydia’s elopement with Mr. Wickham. Verbal irony is Mr.
Darcy and Elizabeth’s particular style of communication, and when they do not engage in
banter, the two characters become apprehensive and confused. Without verbal irony, the
two find it difficult to understand each other, as Elizabeth mistook Mr. Darcy’s silence for
lack of emotion, while Mr. Darcy assures her that his reason for remaining silent was
because of his strong feelings for her. In the agreement dominant phase, verbal irony
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allows them to understand each other’s emotions, because they began to express their
sentiments, echoing the entire course of their story. Verbal irony serves a different
purpose in the agreement dominant phase, opposed to the verbal irony in the
disagreement dominant and neutral dominant phases where the two characters used
verbal irony to articulate their opinions of society and judgments about each other’s
character. Although Mr. Darcy and Elizabeth previously had little trouble assessing the
other’s intentions in the disagreement dominant and neutral dominant phases, at the
dinner when they met again both remained silent for they were unsure of what the other
was thinking and feeling after their sudden separation due to Lydia’s elopement.
“What made you so shy of me, when you first called, and afterwards dined
here? Why, especially, when you called, did you look as if you did not care
about me?” (Elizabeth)
“Because you were grave and silent, and gave me no encouragement.” (Mr.
Darcy)
. . . .
“You might have talked to me more when you came to dinner.” (Elizabeth)
“A man who had felt less, might.” (Mr. Darcy)
(PER60.07) “How unlucky that you should have a reasonable answer to give,
and that I should be so reasonable as to admit it!” (Elizabeth)
(Austen, 2003: 360)
In PER60.07, Elizabeth incongruously replies to Mr. Darcy’s assurance by claiming it is
“unlucky” that he should offer her such a rational response, as such that she could not
refuse it. Her ironical performative utterance echoes her prior ironical admission that it
was unfortunate for her that Mr. Darcy could not “be laughed at” because he was above
ridicule (Austen, 2003: 56). However, she does not neglect to ridicule “what is wise and
good” following through with her ironical promise from that no one and nothing was
above her ridicule, because she “dearly love[s] a laugh” (Austen, 2003: 56). Her
intentional irony also alludes to their past exchanges, deeming it unreasonable in
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opposition from the utterance’s literal meaning. She ironically claims she is unlucky to
echo herself in the past, because at the moment Mr. Darcy is being reasonable and
therefore giving her a good reason to restrain her desire to laugh at him. PER60.07
contains multiple dualities in meaning, once in her use of “unlucky,” and again in her
admission of his “reasonable” reply, insinuating in the literal meaning that she may not
ridicule him for rationality while figuratively she conveys that she may still mock him
even though he is reasonable. The “unlucky” refers to his unluckiness for she will
continue to ridicule him, while simultaneously referring to her own luckiness in being
able to mock him regardless of whether his words are sensible.
Elizabeth’s use of “unlucky” is an echo and direct quotation of her past comment to
Mr. Darcy, that she was “unlucky in meeting with a person so well able to expose [her]
real character” (Austen, 2003: 170). PER60.07 is also an echo of Elizabeth herself in the
neutral dominant phase, claiming that it would be a “misfortune . . . to find a man
agreeable whom [she] is determined to hate” (Austen, 2003: 89). The echoes of the
neutral dominant phase show the progression of her characterization specifically
regarding her attitude towards Mr. Darcy. The private irony (see section 2.4 for an
explanation of private irony from Muecke) in PER60.07 mocks her own past interactions
with Mr. Darcy for her prior determination to “hate” him and her present love for him.
She echoes herself for her own amusement, stressing her changing views of both her own
and Mr. Darcy’s character portrayals. Elizabeth’s allusion to her unluckiness is the site of
incongruity in her utterance, for she does not consider herself unlucky to have fallen in
love with Mr. Darcy, revealing the irony. However, the dualities in her utterance also
allude to her perception that she is “unlucky” for not being able to find a retort to Mr.
Darcy. The ironies are therefore manifest in these detailed revelations, for PER 60.07 is
especially inspected as Elizabeth’s own character construction reinforcing her ironical
witty nature through her private irony.
The two characters continue their teasing remarks toward each other as a way to
express their love, and Elizabeth mockingly asks Mr. Darcy if he can muster up the
courage to disclose their engagement to his aunt, Lady Catherine de Bourgh who
vehemently opposes a marriage between her nephew and Elizabeth (Austen, 2003: 338-
339). Mr. Darcy’s ironical retort refutes Elizabeth’s suggestion that he is apprehensive to
tell Lady Catherine de Bourgh.
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Chapter 5 Data Analysis (Total 81 PERs)
(DIR60.03) “Shall you ever have courage to announce to Lady Catherine what
is to befall her?” (Elizabeth)
(PER60.08) “I am more likely to want more time than courage, Elizabeth. But it
ought to be done, and if you will give me a sheet of paper, it shall be done
directly.” (Mr. Darcy)
(PER60.09) “And if I had not a letter to write myself, I might sit by you and
admire the evenness of your writing, as another young lady once did.”
(Elizabeth)
(Austen, 2003: 361)
In PER60.08, Mr. Darcy’s ironical statement contains an evident contradiction,
highlighting the duality in his meaning. He tells Elizabeth that he would rather want more
time than courage to tell Lady Catherine de Bourgh, and directly after says he will take
care of the matter of announcing the engagement immediately. The first part of PER60.08
is in clear opposition to the second part, revealing the incongruity in his desire for more
time to tell his aunt of the news of their engagement. By clearly revealing that time is not
an issue, he emphasizes his formidable courage to Elizabeth. Mr. Darcy’s superior nature
is seen in his ironic bantering where he challenges Elizabeth’s question of whether or not
he holds courage. Mr. Darcy constructs his own character with an altered self to
demonstrate his courage for Elizabeth, and prove to her that he is not afraid to confess the
engagement to his aunt Lady Catherine de Bourgh, who does not approve of Elizabeth.
Mr. Darcy’s misgivings about marriage to Elizabeth have long since been overcome, and
he promptly decides to write to Lady Catherine de Bourgh of the news to defy Elizabeth’s
ironical overtone. In his ironical performative speech act, Mr. Darcy is alluding to his
altered character, his change of heart in regard to Elizabeth. Previously in the
disagreement dominant and early neutral dominant phases, Mr. Darcy withheld his
emotions and could not allow himself to succumb to his feelings for Elizabeth, as he
confessed during his first proposal that “in vain” he fought his desires for her (Austen,
2003: 185). He has managed to overcome his prejudice against her inferior social
standing and accepted his love for her in spite of what he first perceived as potential
impairment to his social standing.
Elizabeth must also write to her own aunt, Mrs. Gardiner, and tell her of the
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Chapter 5 Data Analysis (Total 81 PERs)
engagement. In PER60.09, Elizabeth echoes her previous promise to “tease [Mr. Darcy]
as often as may be” (Austen, 2003: 360). In her ironical reply to Mr. Darcy in PER60.09,
Elizabeth mocks Mr. Darcy, echoing Caroline’s past frequent fawning over him.
PER60.09 is an explicit echo of a quotation from Caroline in the disagreement dominant
phase, when she asks Mr. Darcy “How can you contrive to write so even?” (Austen,
2003: 47). Her ironical allusion intends to convey to Mr. Darcy the division between
Caroline and herself, echoing her earlier assessment that Mr. Darcy favored her for her
independence and dissimilar qualities to the traditional women in his life such as
Caroline. Elizabeth refers to her individuality, a playful reminder of the reason he fell in
love with her. Elizabeth, unlike Caroline, would not seek to impress Mr. Darcy by
showering him with praise with a subservient attitude in the hopes of attracting him.
Elizabeth constructs her own character in contrast to Caroline, who represents a typical
Regency-era England woman. Elizabeth’s allusion to the past illustrates the dynamic
changes which she and Mr. Darcy have undergone, and their personalities are
safeguarded through their mutual love for each other.
Elizabeth claims that she “had a letter to write” because she is eager to tell her aunt
of the engagement; three days have passed since their engagement was decided and she
knows her aunt will relish the good news (Austen, 203: 361). Both Elizabeth and Mr.
Darcy mention their aunts to whom they must write letters. The mentioning of the aunts
reveals a deep disparity in Mr. Darcy’s and Elizabeth’s social connections. The contrast in
Mrs. Gardiner and Lady Catherine de Bourgh reveals Austen’s witty rhetoric, for Mrs.
Gardiner is Elizabeth’s inferior connection who is humble and friendly, while Lady de
Bourgh is particularly wealthy and condescending. Lady de Bourgh has a superior,
snobbish way of speaking and thinking of others, while the Gardiners are kind, albeit
poor, especially illustrated in their role in helping resolve Lydia’s elopement with Mr.
Wickham. A further incongruity in PER60.09 is Elizabeth’s stating she must write her
aunt Mrs. Gardiner a letter because Elizabeth’s aunt and uncle were the reason that Mr.
Darcy claimed he could not conceive of marrying her during his first proposal (Austen,
2003: 51). In PER60.09 Elizabeth echoes her own thoughts from her visit to Pemberly
with the Gardiners, where she wonders at how she could have been mistress of the estate
but her aunt and uncle would not have been allowed to visit (Austen, 2003: 236).
Austen’s innovative rhetoric in her writing is shown through Elizabeth’s echo in
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PER60.09, because Elizabeth, Mr. Darcy and the readership are all aware of the
discrepancies between the two aunts and what they represent in the society regarding
wealth and status.
Evident in this final dialogue, the friendly banter between Mr. Darcy and Elizabeth
continues to construct their exclusive community, as their emotions and thoughts have
become merged as a singular unit, reflective of their decision to marry. Maintaining the
pattern of the disagreement dominant and neutral dominant phases, the number of
ironical performative speech acts has again decreased by nearly half from 24 in the
neutral dominant phase to 10 in the agreement dominant phase, with this premise
specifically containing 9 ironical performative speech acts. Mr. Darcy and Elizabeth have
taken a complete turn, seen through a contrast of the beginning in the disagreement
dominant phase to the current dialogue at the end of the agreement dominant phase. Their
use of verbal irony, previously for scorning and disparaging each other’s character is now
utilized to strengthen their bond to illustrate their closeness in mind and sentiments. The
verbal irony has become manifest in their earlier apprehensive banter, and has
transformed into friendly banter from the previous phases. Mr. Darcy and Elizabeth now
share their thoughts and emotions, signifying the finalization of their mutual
characterization through verbal irony.
5.5 Summary & Discussion
Analysis Summary
The data analysis of the 81 ironical performative speech acts provides evidence to
prove our argument that echoic groupings show characterization by revealing the
characterization through the echoic grouping dominance phases. The echoic groupings
are based upon the echoic allusions found within each utterance, and the character
constructions of Mr. Darcy and Elizabeth are specifically carried out through echoic
allusions of the ironical performative speech acts. Because the echoic allusions are the
basis for echoic groupings which form echoic grouping dominance phases, we can
conclude that the three phases concurrently depict the characterization of the Mr. Darcy
and Elizabeth.
The first phase is the disagreement dominant phase of characterization, which
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includes the majority of ironical performative speech acts, 47 in total. The
characterization develops rapidly as Elizabeth and Mr. Darcy are thrust together in
opposition, providing abundant opportunities for each to establish insights of the other
based on their social views. In the disagreement dominant phase, the thematic overture
focuses on the divergent worldviews of the characters, specifically between Mr. Darcy
and Elizabeth. The first phase is broken down into four major premises based on the plot:
Provocation, Opposition, Character Contrast, and Social Disparity. Each of these
premises rests upon the echoic allusions evident within the ironical utterances of the
conversations. The first part of the disagreement dominant phase highlights the beginning
of Mr. Darcy and Elizabeth’s relationship, starting with their tumultuous acquaintance.
The ironical battle of moral characters was initiated by Mr. Darcy’s slight of Elizabeth,
and from this moment the preconceived notions were created as a foundation for the basis
of character development. The ironical performative speech acts between Elizabeth and
Mr. Darcy are constructed primarily in the first phase where characterization of the two
protagonists occurs most frequently. The two characters represent oppositional fronts, and
their ironies reflect a great deal of tension and disagreement.
Through verbal irony they challenged each other’s worldviews and each tactically
provoked through ridicule in order to gain awareness into the other’s character. The
culmination of the first phase is the Ridicule conversational theme, containing the most
ironical performative speech acts (20 PERs). This theme of ridicule is essential to
understanding the disagreement dominant phase of character developments of Mr. Darcy
and Elizabeth. This characteristic is especially observed in the novel’s plot as Austen’s
extraordinary writing technique to ridicule her society carried out through her two
protagonists, Mr. Darcy and Elizabeth for they constantly revert to their use of verbal
irony to ridicule the other in order to affirm their critical views showing their oppositions,
echoing social dictates. Elizabeth is specifically seen to demonstrate her independent
willfulness to defy social conventions, confronting a traditional higher social male figure,
Mr. Darcy.
The second phase is the neutral dominant phase of characterizations, with 24
ironical performative speech acts. The neutral dominant phase is half the length of the
disagreement dominant phase, as there are fewer interactions between Mr. Darcy and
Elizabeth compared to the disagreement dominant phase. The neutral dominant phase has
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three premises on which Mr. Darcy and Elizabeth’s characterizations are based,
specifically focusing on a comparison of their characters, their ironic banter to display
individual views, and finally the cathartic release of emotion and opinion during Mr.
Darcy’s marriage proposal. By this point in Mr. Darcy and Elizabeth’s characterization,
Mr. Darcy has grown fond of Elizabeth but she still holds on to her preconceived
prejudice against him because of his original affront which offended her during their first
encounter. In this phase, Mr. Darcy and Elizabeth convey their individual views to the
other, each vying for the opportunity to proclaim their divergent opinions. However,
through their attempt to highlight their uniqueness, Mr. Darcy and Elizabeth inevitably
reveal their similarities in character
While the ironical performative speech acts continue to make these characters alive
in the agreement dominant phase, the speech acts given with greater empathy and ease
are earnest discussion of the couple’s new sentiments for each other. These ironical
speech acts allow us to see that Elizabeth no longer needs to oppose Mr. Darcy, and
consequently her criticism of his character comes to a conclusion; she also matures
through the realization at the close of the novel that her perceptions of Mr. Darcy were
misguided.
Discussion
The ironical performative speech acts specifically stress echoic allusions to the
other’s character, based on the S’s views and thoughts. Mr. Darcy constructed Elizabeth’s
character from his prejudiced views of her before and after the two were introduced based
on her social class as well as judgmental nature. Likewise, Elizabeth constructed Mr.
Darcy’s character through her own ironical performative utterances which alluded to her
opinions of their social class norms and his proud nature. Elizabeth’s feminist perspective
is included in the data analysis because Austen’s views were manifest through Elizabeth’s
by mocking Mr. Darcy and his ideals on social class, which encompass gender inequality.
Elizabeth is the novel’s heroine, and uses ironical utterances to convey feminist views
which alter Mr. Darcy’s opinion of traditional gender roles and social class norms of the
era.
The fundamental analytical framework of this paper is modified speech act theory
and echoic theory which explicate verbal irony through an emphasis on S intent and H
uptake, respectively. Superiority theory (including the banter principle) and incongruity
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theory further elucidate the verbal ironies in the analysis of characterization through
ironical performative speech acts. The primary focus of this paper is to provide an
analytical interpretation of the role of verbal irony in the characterization of Pride and
Prejudice’s Elizabeth and Mr. Darcy. This framework of our study purports that identities
are evidently characterized through ironical performative speech acts. These fundamental
theories help illuminate the illocutionary and perlocutionary acts within each utterance
from the perspective of modified speech act theory to explicate the S intent and echoic
allusion to validate H uptake of the verbal ironies. In the view that an utterance is
considered to be a performative speech act, a S has the power to define her own and other
characters’ attributes. The goal of this study has been to delve into the ways in which
characterization is portrayed through the use of ironical performative utterances, which
bring about the existence of something simultaneously with the utterance.
A performative speech act constructs an entity but it is featured by not being finite or
resolute. This means that Elizabeth’s negative outlook upon Mr. Darcy as an exceedingly
proud man can be altered as an effect of Mr. Darcy’s actions or reinforced by the
utterances from other minor characters, such as Mr. Wickham, which may readjust or
reinforce her own preexisting assumptions. Verbal irony has been employed by Elizabeth
as a means to transfer her intentions through speech acts, but under a guise which only an
initiated H can construe an image of some being(s). We can see through the functions of
irony in many of the analyses of Elizabeth’s verbal ironies that she has a purpose of
hinting at and correcting the gender inequality of Regency England’s society (see section
2.5 for functions of verbal irony). In other words, Elizabeth (the S) uses echoic irony for
the H’s uptake so the H is able to properly interpret her dissociative attitude towards
specific thoughts and ideas. From the conversational analysis of Mr. Darcy and
Elizabeth’s ironical speech acts, one can conclude that verbal irony often permits
Elizabeth to conceal her intentions from all other characters except for her intended H,
Mr. Darcy. Her ironical remarks at times come forth as infelicitous, implying dualities
which show her improper station or the circumstance in which she says them to reveal
her alternative outlooks on society. Incongruity theory provides explanation for the
dualities in meaning within ironical utterances, explicating further the echoic allusions
present within each ironical utterance.
The various functions of verbal irony work to keep Elizabeth from pushing societal
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gender boundaries, a disposition which Regency England finds undesirable, thus allowing
her to express her views on gender inequality. By asserting her independence and
feminist perspective of social propriety, superiority theory is utilized to explain how
Elizabeth’s verbal irony is formed. Elizabeth believes her moral character to be higher
than Mr. Darcy’s, and reverts to ridicule to address his character flaws. Through ridicule,
she seeks to employ verbal irony in a socially corrective way, a concept supported by
superiority theory in its claim that ridicule serves as a catalyst for social correction, in
order to isolate a person’s views for mocking and point out the incorrect stance of that
person. Mr. Darcy’s verbal irony is also supported through superiority theory, as he often
contradicts Elizabeth’s views through ridicule and banter to affirm his higher social
stance. Superiority theory is useful for explicating many ironical utterances between Mr.
Darcy and Elizabeth because the neutral dominant and agreement dominant phases rely
on the banter principle for analysis of the civil and friendly verbal ironies found within
these two phases of characterization.
Ironists employ dual meanings, and contextual clues are laid out for the H to realize
that an ironical utterance has been executed. Elizabeth’s verbal irony is effective when
Mr. Darcy, initiated H intended by Elizabeth, understands her ironical evaluations and
often responds with an ironical retort. Mr. Darcy and Elizabeth’s uptake of irony is
observed as we analyzed the ironical performative speech acts through phases of echoic
grouping dominance. The initialization of finding verbal irony arises when an assumption
on the part of the H occurs. Those suppositions are replaced by new interpretations from
the H’s uptake, or lack thereof, of the verbal irony when those interpretations become a
new measure for any subsequent assumptions to be compared with. The verbal ironies of
the novel expounded upon the initial event of Mr. Darcy’s production of a subjugated
female character with his first analysis of Elizabeth, which she then challenges
throughout the text. Mr. Darcy, as an observer, later detects Elizabeth’s unconventionality
regarding the views of gender in Regency-era England. Thus, he is keen to realize any
irony she puts forth to challenge his preconceptions of moral character and the two
engage in perpetuating the perlocutionary effect of this inference through continued use
of ironical dissociations.
The thorough analysis of these effects with regard to how utterances imply verbal
irony is seen through the use of pragmatic methods such as echoic theory. In these
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examinations, the study identifies the possible pathways to implicature for Elizabeth and
Mr. Darcy to ascertain that ironical evaluations are found within their discourse. The
perlocutionary act should be understood as the S’s intention of the speech act upon the H,
contrasted with the illocutionary act, which is the intention of the speech act from the S’s
perspective. Thus, the formation of a contextually relevant inference process and the H’s
appropriate uptake intended by the S, the perlocutionary act, proves that a linguistic
analysis can provide a corporeal form to understanding of verbal irony. The next chapter
concludes the study with a discussion of the implications this research has for future
linguistic studies. Finally, the limitations to this study and what should be done to address
those shortcomings are provided.
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