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Mass Market Paperback Description:
Elizabeth Bennet is the perfect Austen heroine: intelligent, generous, sensible, incapable of jealousy or any other major sin. That makes her sound like an insufferable goody-goody, but the truth is she's a completely hip character, who if provoked is not above skewering her antagonist with a piece of her exceptionally sharp -- but always polite -- 18th century wit. The point is, you spend the whole book absolutely fixated on the critical question: will Elizabeth and Mr. Darcy hook up?
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Austen's own "Much Ado About Nothing"...?
There seems to be a tendency to interpret the works of Jane Austen in political terms (Jane Austen and the State, Jane Austen and the French Revolution) which overlooks the question of gender and class conventions in Austen's novels, which go to establish the comic tone they bear so well. The critical introductions for Pride and Prejudice in both World's Oxford Classics and Penguin, by Isobel Armstrong and Vivien Jones respectively, do follow this trend and tend to overlook the rigours of feminist criticism, as appeared in Marilyn Butler's Jane Austen and the War of Ideas. As a post-revolutionary romance, Pride and Prejudice provides a reflection of political events, but this theme is only secondary to the critique of class and gender conventions, and which is only indirectly related to political conditions.
The use of silence, or the withholding of information, as a narrative strategie to produce the complications in the plot that go to make up the story, follows from this indirect association. Another important theme in the novel is the difference between public and private space. The exchanges of information (gossip, if you may) between the characters, particularly between Elizabeth and her relatives and friends, reveal a society in which individual worth and reputation is decided by rumour. When rumour is too strong, this is, shared by many, it may not be worth one's while to attempt to change it even if it is found to be false. It is for this reason that Wickham is allowed to fulfil his mania for elopement and achieve a suitable marriage.
It is no surprise that a society so concerned with opinion should be given to prejudice, this is, the conversion of uninformed unfavourable opinion into a general judgement. Prejudice is by no means to be seen as a privilege of the aristocratic class. The community at Longbourn are seen to be equally capable of misjudging and misrepresenting character, in particular Mr Darcy's.
Elizabeth's one aristocratic feature in her character is her general dissatisfaction with everything she sees. Her critical gaze links her to the aristocratic crew that she meets and alienates her from her surroundings. But if she wants to become one with Darcy's "family party" it is precisely this quality that she is to tame. By looking at Pemberley's grounds, she learns to express her own (sensuous) satisfaction with things as they are.
Elizabeth's sensual gaze has been educated through the novel in a process of humiliation and denial. It is when she accepts the humbling experience of Charlotte's wedding and goes to visit the Collins' that she learns to appreciate the stately fixity of Rosings and starts to give the appropriate steps to becoming Darcy's consort.
In the words of Isobel Armstrong in the Oxford World's Classics "Introduction": "it is through the uncomfortable limits of sexual signals that the novel indirectly explores a deep political question: when is it right to conceal or to reveal information; when isit right to speak out?" Nevertheless, this question is in the novel less political than gender and class- based.
"Female elegance", according to Mr Collins, consists in "rejecting a man on the first application". Affectation is taken for granted among women, which poses a problem for women who, like Elizabeth, wish to decline a proposal in spite of their economic need. Twenty years had scarcely passed after the publication of Mary Wollstonecraft's Vindication of the Rights of Women, and it is characteristic of the peculiar genius of Jane Austen that she had already produced the first post-feminist heroine, a woman capable of turning the issue of marriage into an unselfish and pleasurable conquest - unselfish, because by marrying Darcy Elizabeth establishes her family socially, and pleasurable, because in accepting the stately home of Pemberley she fully reconciles herself to the sensuousness of life -.
The Beautiful Pride and Prejudice
Jane Austen's "Pride and Prejudice" is and will always remain to be an all time favorite romantic comedy in the history of American literature. The story never fails to emphasize on the ethical manners played out in the 19th Century English society, an existence in which wealth, social status, and love prevailed lucidly in pithy marriages. It also differentiates with our human behavior in the modern world, how much we have changed in a sense.
The emotions and intentions of the characters in this book are beautifully written and brought to life as they are living life to the rules of respect and manners. I highly recommend this book to all ages interested in reading romantic classics.
The Shorter Story
I enjoyed reading this particular version of the epic "Pride and Prejudice." It is written in the form of a screenplay, leaving out most, if not all, of Jane Austin's fine and abundant descriptions of the surroundings the characters find themselves in, as well as descriptions of the characters themselves.
If the reader wants to get a quick idea of what this tale is about, I'd recommend this book. It is a quick read and yet does the story justice.
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DVD's
Austen's own "Much Ado About Nothing"...? 
The Beautiful Pride and Prejudice 
