The speech of the characters in the works of Jane Austen is always deterministic and somehow is like a mirror of their behaviour. Objectivising her narrative with the revelation of the heroes in their speech, the author selects the voice contacts for the characters, in which they, most distinctly reflect its essence, and thus reflects the subjective perception of the artist’s world (Anderson 367-382). Thus, no matter how the author was hiding behind the objectivity of the narrative by means of voice the relationship of the characters, the idea that seems her insignificant, unacceptable or evil and what is valuable inevitably finds an outlet in the selection of principles, and not for any other illustrations of dialogic speech. With the advent of the realistic prose of the mid-19th century reveals a new important feature of dialogic speech. It gains a psychological character. However, the nature of the character, his internal motivations, external circumstances, experiences and exposure to this point, the collection of all these causal factors began to deflect in the dialogic word in the novels of the early century, in the works of Jane Austen. For example, in the novel Pride and Prejudice, in the very first Chapter we are confronted with a Dialogic form of narrative:
'The letter shall certainly be burnt, if you believe it essential to the preservation of my regard; but, though we have both reason to think my opinions not entirely unalterable, they are not, I hope, quite so easily changed as that implies.'
'When I wrote that letter,' replied Darcy, 'I believed myself perfectly calm and cool; but I am since convinced that it was written in a dreadful bitterness of spirit.' (Austen)
This form of storytelling is prevalent throughout the novel. Most of the dialogues (and there are sometimes whole chapters) accompanied by a minimum of authorial intrusion. In the above passage terse explanations of the narrator are not so much a commentary spoken by the characters, how many perform the role of remarks, typical of the works written for the stage (Anderson 367-382).
Jane Austen makes the reader to solve verbal expression of emotional states in their diverse conditions of their double value for the context and the internal psychological context. As it was already mentioned, the novel is built on the voice images. In the novel there are no direct descriptions and commentaries of the author, so the novel's characters remain outside the field of criticism, they are left to themselves. The expression of the characters through speech becomes the main advantage of the narration: it gives us an idea of how I spoke and gentry generally lived almost two centuries ago. The English class of lower nobility most clearly portrayed in the person of Catherine de Bourgh and her nephew, Mr. Darcy. Pride is the main trait of the English aristocrat. In this novel it is embodied in the main characters, Darcy and Elizabeth, who embodied themselves, on the one hand, pride and prejudice. Darcy himself says about it: he was always selfish in deed, but not on the merits "not in principle". In the image of the character Austen breaks enduring literary traditions. The author shows the dependence of the human psyche from the material and social provisions of the laws existing in society.
So, in the novel Pride and Prejudice the process of rethinking one's own feelings and actions contributes to the suppression of pride of heroes, about Mr. Darcy this process is accompanied by reconciliation with society. The leniency and tolerance of surrounding ignorance, tactlessness, concentrated in the people, is the most painful and difficult challenge for Darcy because he is not able to perceive the world with light irony. In this respect he is much weaker on strong-willed qualities than Elizabeth, sense of humour, which reconciles her with many unpleasant circumstances (Anderson 367-382).
Despite his intelligence, character lives within the stereotypes offered by high society. Even before he met Elizabeth, Darcy is prejudiced against her society, preferring familiar with him. This feeling is based on opinion of character that neither the appearance nor the behaviour of Miss Bennet is not compatible with the ideal that started Darcy on the basis of prevailing in the society stereotypes:
But it was not till the evening of the dance at Netherfield that I had any apprehension of his feeling a serious attachment (Austen).
The characterization of the characters contained in a line of dialogic speech. Darcy's letter to Elizabeth, describes the main features of his character: he's not soft, not able to forget the vices and folly of others, not able to get sentimental and touchy.
In his speech without conjunctions uniform transfer of prepositional additions (by reason, by reflection, by everything), the use of conditional and subjunctive moods (might have been suppressed, had I concealed, could you expect), the parallel construction in two consecutive interrogative sentences (Could you expect me to rejoice To congratulate myself) create the effect of increase by which reflected his resentment and irritation.
Love of Darcy is perhaps the greatest psychological mystery of this novel. In his sense there is nothing rational, although it is undoubtedly sensible and insightful. He first talks about his love:
But there were other causes of repugnance;- causes which, though still existing, and existing to an equal degree in both instances, I had myself endeavored to forget, because they were not immediately before me (Austin)
The way Darcy met Elizabeth is the path of deliverance from prejudice and arrogance, vanity, pride and self-confidence to sharply self-critical assessment of his character:
I write without any intention of paining you, or humbling myself, by dwelling on wishes which, for the happiness of both, cannot be too soon forgotten (Austin)
In this conversation with Elizabeth self-esteem sounds. The repetition of the word selfish, italicize the words right, child, wish, parallel construction (I was taught, I was given, I was spoiled) and enumerations give him agitated, confessional mood, thanks to Elizabeth, the love of which made it to others.
In the individualization of the language of the characters the writer is not only using the transmission characteristic of each speaker's content, but also ideological meaning of the statements. It is created through different means: lexical, vocabulary of speech, its syntactic and stylistic patterns, the intonation, the introduction into the speech of the acting person specific features, etc (Anderson 367-382).
Elizabeth is not like the representatives of the surrounding society. Her aspirations were not limited to marriage, despite the fact that as a bride, to marriage she could gain some social status. The lack of dowry did Elizabeth uncompetitive in the so-called "bride market". Also Elizabeth has a rather simple appearance, which again, would facilitate the process of marriage. The mother in her conversation with Mr. Bennet speaks about Elizabeth is not flattering (Onan 22).
Austen used internal monologues in the novel for the transmission of thoughts and feelings of the protagonist. In this particularly illustrated of the thinking of the heroine about the state of Mr. Darcy. Many researchers have noted that the beauty of Pemberley, its magnitude, its greatness was deeply disturbed by the heroine and dramatically changed its attitude to the owner of the land. The charming and intelligent heroine of Austen is credited with prudence, often citing her own words in answer to the question the sisters about the origin of her feelings for Darcy:
«It has been coming on so gradually, that I hardly know when it began. But I believe I must date it from my first seeing his beautiful grounds at Pemberley» (Austen 217).
At first glance, the answer seems to be Elizabeth humorous, some ironic commentary on its own, conscious of its commercialism. This conclusion suggests itself if we consider that from the first to the last page of the novel, Jane Austen reveals to the reader the image of a girl who isn't capable of loving truly, if her choice is not of high moral character.
The characters of Austen heavily reveal their nature in the first place, inherent in their speech lexical features. In the language of many actors, often even one word that they use repeatedly discovers their spiritual essence (Anderson 367-382).
The novel is built on the voice images. In literature there are no direct descriptions and commentaries of the author, so the novel's characters remain outside the field of criticism, they are left to themselves. It is the expression of the characters through speech becomes the main advantage works: it gives us an idea of how I spoke and generally people lived almost two centuries ago.
Works Cited
Anderson, Walter E. "Plot, Character, Speech, And Place in Pride and Prejudice" .Nineteenth-Century Fiction 30.3 (1975): 367-382. Web.
Austen, Jane. "Pride and Prejudice". Literaturepage.com. Web. 22 Apr. 2016. https://www.ucm.es/data/cont/docs/119-2014-04-09-Pride%20and%20Prejudice.pdf
Onan, Ayfer. "The Analysis Of The Characters In Pride And Prejudice By Jane Austen Through The Manners And Speech". International Peer-Reviewed Journal of Communication and Humanities Researches 01.01 (2013): 22-22. Web.
