Imagery in Translation

"the depths of her novels are not the chance things of casual ge­nius, but the results of an uncommonly sane mind, a gay heart and a most dedicated and meticulous workmanship." Her prose is always stern, though sometimes joyful and epigrammatic, but it is never poetry. Yet something always remains indefinable about her.

That "something" might be the mystery of the "quiet coun­ty life" which in reality was astonishing novel-making material, including her own experience and that of her family. Her mother was related to the Duke of Chandos and Master of Balliol. There was an aunt who was married to an admiral and a cousin, the Comtesse de Feuillide, who fled from the French Revolution in which her husband was guillotined. Elizabeth de Feuillide brought with her a small son, and in a short time she married Jane's broth­er, Henry Austen. Henry Austen's life alone might offer a wealth of material to a novelising sister. A country parson's handsome son, at the age of twenty-six, he married a French countess, one of Marie Antoinette's ladies, and thus became stepfather to the godson of the Governor General of India. He then proceeded on a career that went from a captaincy in the Oxford militia through a spell of fashionable banking to the priesthood. Is that not a novel in itself?

Her other brothers were no less extraordinary. The eldest, James, married the Duke of Lancaster's granddaughter, and it was to his child, Anna, that Jane wrote most of her letters revealing the principles of her own art. Frank and Charles, two more broth­ers, were naval officers and future admirals. Frank was a friend of Admiral Nelson. Edward Austen was adopted by a rich family, educated, and sent on the grand tour. He married a baronet's daugh­ter and became a rich heir able to support the Austen family after their father's death. Cassandra, Jane's favourite sister was a vivid and enigmatic character who loved balls, cards, wine, music, coun­try walks, conversation, children and bad as well as good novels.

Pride and Prejudice, the third of the six novels, was pub­lished in 1813. The narrative manner of this comedy of marriag-

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Imagery in Translation

es and wrong judgements is elegant, prim and judicious. Colour­ful storytelling and vivid comment are left to the characters; the narrator's remarks are very moderate and measured. Jane Austen called her own art "a little bit (two inches wide) of ivory." This novels demonstrates how brilliant that "little bit" was. The au­thor's remarks are skilfully wrapped in bits of "common sense," thus becoming conductors of irony and sometimes bitter satire.

For example, in the passage quoted here, the author may remark, quite in the manner of that society: "They could talk of nothing but officers; and Mr Binglcy's large fortune, the mention of which gave animation to their mother, was worthless in their eyes when opposed to the regimentals of an ensign." The satirical force of the sentence is shown in the contrast between a few op­positions "a large fortune — animation," "animation — regi­mentals of an ensign," and "a large fortune — regimentals of en­sign." The incompatibility, even incompensurability, of such par­allels, drawn so imperturbably if not sympathetically, shows the art of Jane Austen as a satirist when she talks about the moral assumptions of society.

The narrative rhythm of the book is based on many con­trasts: the standard of polite behaviour, that of "rightness," as op­posed to the real weakness of this or that character. For example, Lydia's and Kitty's glee in officers is described as "felicity." Some­times this discrepancy between the actions and the words that describe them is even widened. When Mrs Bennet's shrill com­plaints are termed as "gentle murmurs," the polite cliche intro­duces a standard of behaviour that Mrs Bennet does not meet.

The clue to the rhythmic patterns of the story may be found in Jane Austen's own remark about this novel: "The work is rath­er too light, and bright, and sparkling; it wants shade;... an essay on writing, a critique on Walter Scott, or the history of Buona­parte, or anything that would form a contrast, and bring the read­er with increased delight to the playfulness and epigrammatism of the general style."

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Task for comparison:

Pride and Prejudice — Гордость и предубеждение

PRIDE AND PREJUDICE

(from Chapter 1, Volume 1)

It is a truth universally acknowledged that a single mai possession of a good fortune must be in want of a wife.

However little known the feelings or views of such a r may be on his first entering a neighbourhood, this truth is so \ fixed in the minds of the surrounding families that he is conside as the rightful property of some one or other of their daughters

"My dear Mr. Bennet," said his lady to him one day, "h you heard that Netherfield Park is let at last?"

Mr. Bennet replied that he had not.

"But it is," returned she; "for Mrs. Long has just been h< and she told me all about it."

Mr. Bennet made no answer.

"Do not you want to know who has taken it?" cried wife impatiently.

"You want to tell me, and I have no objection to hearing

This was invitation enough.

"Why, my dear, you must know, Mrs. Long says that Ni erfield is taken by a young man of large fortune from the nortl England; that he came down on Monday in a chaise and fou see the place, and was so much delighted with it that he agr with Mr. Morris immediately; that he is to take possession be] Michaelmas, and some of his servants are to be in the house the end of next week."

"What is his name?"

"Bingley."

"Is he married or single?"

"Oh! single, my dear, to be sure! A single man of \i fortune; four or five thousand a year. What a fine thing for girls!"

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"How so? how canit affect them?"

"My dear Mr. Bennet," replied his wife, "how can you be tiresome! You must know that I am thinking of his marrying e of them."

"Is that his design in settling here?"

"Design! nonsense, how can you talk so! But it is very ely that he may fall in love with one of them, and therefore you ist visit him-as soon as he comes."

"I see no occasion for that. You and the girls may go, or u may send them by themselves, which perhaps will be still tter, for as you are as handsome as any of them, Mr. Bingley ght like you the best of the party."

"My dear, you flatter me. I certainly have had my share of auty, but I do not pretend to be anything extraordinary now. ben a woman has five grown up daughters, she ought to give er thinking of her own beauty."

"In such cases, a woman has not often much beauty to think of."

"But, my dear, you must indeed go and see Mr. Bingley len he comes into the neighbourhood."

"It is more than I engage for, I assure you."

"But consider your daughters. Only think what an estab-hment it would be for one of them. Sir William and Lady Lu-> are determined to go, merely on that account, for in general u know they visit no newcomers. Indeed you must go, for it II be impossible for us to visit him if you do not."

"You are overscrupulous surely. I dare say Mr. Bingley will very glad to see you; and I will send a few lines by you to ;ure him of my hearty consent to his marrying whichever he Doses of the girls; though I must throw in a good word for my le Lizzy."

"I dare say you will do no such thing. Lizzy is not a bit tter than the others; and I am sure she is not half so handsome Jane, nor half so good-humoured as Lydia. But you are always ang her preference."

"They have none of them much to recommend them," re-