The Evolution of the English Novel Series: Jane Austen's "Pride and Prejudice" and the Bildungsroman Tradition

Foreword

The novel stands as a lasting testament to human creativity and narrative ingenuity, captivating readers across cultures and eras with its unique blend of accessibility and depth. Its remarkable ability to connect diverse themes and perspectives makes it an essential foundation of literary discourse, transcending temporal and spatial boundaries. The English novel, in particular, serves as a pivotal cornerstone in literary history. Its profound influence reverberates throughout global literature, shaping contemporary literary landscapes in complex and multifaceted ways. This series examines the genesis and evolution of the novel, focusing on its emergence and development within English literature from the 17th to the 19th centuries. Through an interdisciplinary lens, the articles will explore the works of luminaries such as Austen and Dickens, shedding light on the diverse narrative innovations and cultural commentary that define this influential genre.

The series will be structured into six articles:

1. The Evolution of the English Novel Series: The Rise of the English Novel

2. The Evolution of the English Novel Series: Defoe's "Robinson Crusoe" and the Emergence of the Modern Novel

3. The Evolution of the English Novel Series: Horace Walpole's "The Castle of Otranto" and the Birth of Gothic Fiction

4. The Evolution of the English Novel Series: Jane Austen's "Pride and Prejudice" and the Bildungsroman Tradition

5. The Evolution of the English Novel Series: Sir Walter Scott's "Ivanhoe" and the Rise of the Historical Novel

6. The Evolution of the English Novel Series: Intricacies of Victorian Realism in Charles Dickens's "Bleak House"

Introduction

Pride and Prejudice (1813) remains one of the most widely read and appreciated novels worldwide, inspiring numerous film adaptations and other forms of media in popular culture. Its inclusion in this series is due to its educational significance and its classification as a Bildungsroman, or "coming-of-age" novel. This article aims to analyze and explore the Bildungsroman genre, using Austen's Pride and Prejudice as a key example. Key themes, such as the social universe, the author’s narrative style, and an explanation of the Bildungsroman will be discussed, followed by concluding reflections.

Jane Austen is one of the greatest English writers of all time and one of the first women to successfully pursue writing as a profession, earning a substantial income from her works. Her enduring popularity is partly due to her portrayal of young heroines whose stories depict the development of the individual through various phases of life. These stories typically begin with a need for maturation, following the structure of the Bildungsroman. These qualities and her commercial success and lasting cultural impact solidify Austen’s place as a central figure in English literature. Additionally, her work is deeply influenced by the social and familial context in which she lived.

Born on December 16, 1775, as the daughter of an Anglican clergyman, Austen began writing at a young age. Her early works are collectively known as the Juvenilia. Between 1794 and 1796, she wrote Lady Susan, Sense and Sensibility, and Pride and Prejudice, which was originally titled First Impressions. Her literary career is often divided into two phases, with a hiatus during her family's move to Bath, which disrupted her writing. After her father’s death, she resumed writing and revisited earlier works like the Juvenilia. Austen passed away in 1817, leaving her final novel, Sanditon, unfinished. Known for her "Contrast Novels," including Sense and Sensibility and Pride and Prejudice, Austen’s works often highlight opposing qualities within characters and themes.

Figure 1: La Soireè by Vittorio Reggianini

The Social Universe in Austen's Novels

In Austen's novels, the social universe is primarily confined to the lower middle classes of the bourgeoisie. To fully understand the relationships and connections in Pride and Prejudice, and how these influence Elizabeth's development, it's important to illustrate the social classes of the time, particularly within the novel. As Bander notes, "To turn down a huge fortune when you have none yourself, as Elizabeth Bennet at first turned down Darcy's, is the mark of a truly aristocratic nature, into whatever rank you were born" (Bander, 2004).

Austen deliberately narrows her focus to the social sphere to which she belongs, drawing her references from this class as a didactic choice. She wanted to examine the social hierarchy of the time when the notion of class as an economic status didn’t exist. Instead, the concept of rank prevailed, encompassing a network of relationships, mastery of certain manners, income, linguistic dominance, and a set of cultural and social values. At the top of this hierarchy were dukes, earls, viscounts, and marquesses, who represented the aristocracy. Below them were the gentry—baronets, knights, and gentlemen—mainly tied to landownership, though some also invested in business. Beneath the gentry were the middle classes, including merchants like Bingley and Gardiner, followed by the laboring orders.

In Pride and Prejudice, Austen’s focus is largely on the nobility and gentry, with Lady Catherine de Bourgh as the only noble character. In her novels, land is portrayed more as a measure of wealth than as a productive asset connected to labor. The working class and the concept of labor are notably absent in Austen’s depiction of society—an intentional choice that reflects her focus on the upper social strata. Although Austen lived through turbulent historical times, she avoids making direct references to these events in her novels. Subtle hints, such as the presence of the militia through Wickham’s character, suggest England’s involvement in the war with France (Bander, 2004).

Figure 2: Yes or No? by Edmund Blair Leighton

Pride and Prejudice

Pride and Prejudice, a novel by Jane Austen, follows the life of Elizabeth Bennet, one of five daughters in a moderately affluent family in early 19th-century England. The narrative begins with the arrival of Mr. Bingley, a wealthy bachelor who leases Netherfield Park, causing considerable excitement within the Bennet family, particularly for the eldest daughter, Jane. Mr. Bingley soon develops a strong affection for Jane, while his companion, Mr. Darcy, initially displays a reserved and distant demeanor.

"His pride," said Miss Lucas, "does not offend me so much as pride often does, because there is an excuse for it. One cannot wonder that so very fine a young man, with family, fortune, everything in his favour, should think highly of himself. If I may so express it, he has a right to be proud. (Austen, 11)

Darcy’s behavior results in Elizabeth forming an unfavorable opinion of him after he dismissively declines to dance with her at a social event. As the narrative unfolds, Elizabeth's perception of Mr. Darcy evolves through a series of encounters and misunderstandings. Darcy’s initial marriage proposal is firmly rejected by Elizabeth, who condemns him for his perceived arrogance and for orchestrating the separation of Mr. Bingley and her sister Jane. However, after receiving a letter from Darcy explaining his actions concerning Bingley and revealing the deceitful character of Mr. Wickham, Elizabeth begins to reevaluate her earlier judgments. The plot intensifies with the scandalous elopement of Elizabeth’s younger sister, Lydia, with Mr. Wickham, which imperils the Bennet family’s social standing. Darcy discreetly intervenes to resolve the situation, ensuring a marriage between Wickham and Lydia and preserving the family’s reputation.

Ultimately, Elizabeth and Darcy overcome their initial prejudices and misunderstandings, leading to a relationship founded on mutual respect and affection. The novel concludes with the marriages of both Elizabeth and Jane, highlighting themes of social class, marriage, and the necessity of personal growth.

Figure 3: Portrait of Abraham del Court and his wife Maria de Keerssegieter [Detail of painting]

Throughout Pride and Prejudice, Elizabeth’s initial scepticism and prejudice toward Darcy are apparent, but Austen skillfully depicts her gradual transformation over the course of the narrative. As Elizabeth abandons her initial biases, she develops a more thoughtful and nuanced perspective. This transformation, marked by introspection and self-reflection, aligns her with the characteristics of a Bildungsroman protagonist—a young individual who matures through a personal journey of growth. Elizabeth’s journey culminates in her marriage to Mr. Darcy, symbolizing her reintegration into society. However, this reintegration does not come at the cost of her individuality. Instead, she retains her independent spirit and becomes a role model for others, such as Georgiana Darcy. This aspect highlights the dual nature of her development—both personal and social (Svendsen, 2017).

Austen draws heavily on the 18th-century literary tradition, demonstrating a profound engagement with its conventions. Influenced by her father’s extensive library and writers like Samuel Johnson and Joseph Addison, Austen’s prose reflects the harmony and balance characteristic of the period. Her work is also shaped by earlier novelists such as Samuel Richardson, with Pamela (1740), and Henry Fielding's Tom Jones (1749), whose narratives she both draws from and parodies. For instance, when Elizabeth reads Darcy’s letter, the focus on interiority and self-reflection recalls Richardson’s use of the epistolary form to explore the protagonist’s inner life. Although Austen doesn’t use the epistolary structure, she adopts this focus on introspection, which marks Elizabeth’s growth, especially after reading Darcy’s letter and reconsidering her prejudices.

Fanny Burney also had a significant influence on Austen’s writing, notably inspiring the title Pride and Prejudice. Burney’s heroines, who often struggle to assert themselves within rigid social structures, provide a template for Austen’s focus on character development, particularly within the "romance of manners" genre.

Austen’s narrative style, characterized by a limited cast of characters, a straightforward plot, and an emphasis on character maturation, serves as an ideal vehicle for the Bildungsroman. Her novels are intricately constructed, focusing on the growth and development of female protagonists like Elizabeth. Though she confines her focus to a narrow social sphere, Austen explores these themes with remarkable depth. The contrast between the city and the countryside—London often depicted as a negative force—underscores the inner transformation of her characters. Through this lens, Pride and Prejudice exemplifies the Bildungsroman, where personal development leads to deeper self-awareness and reconciliation with societal expectations.

The Bildungsroman Model

The Bildungsroman genre, as Christy notes, centers on the development of the protagonist's mind and character from childhood to adulthood, often shaped by various life experiences and conflicts between their inner and outer worlds. These tensions typically arise from a sense of loss that propels the protagonist on a journey of self-discovery. The narrative spans a significant period, reflecting both the protagonist's personal evolution and the societal context of the story. Secondary characters play a key role in this growth, and themes of loss, change, and philosophical maturity—particularly through love, relationships, and social criticism—highlight the protagonist's gradual maturation and the influence of society on their development. In this light, the Bildungsroman, or coming-of-age novel, is central to understanding Pride and Prejudice, where the heroine, Elizabeth Bennet, embodies the genre’s core elements. The term Bildungsroman originated in the late 18th century as modernity began to redefine individual roles in society, enabling social mobility through conscious choices made in youth. Franco Moretti identifies Pride and Prejudice as a key example of this genre, alongside Goethe’s Wilhelm Meister, emphasizing how youth became a pivotal phase of life in this cultural shift.

In the Bildungsroman, character growth hinges on the interplay between self-determination and social integration. In Pride and Prejudice, Elizabeth’s journey culminates in her marriage—a conventional conclusion for the genre, symbolizing the protagonist’s achievement of both social and personal harmony. However, as Moretti notes, in other novels like Dickens’ Great Expectations or Flaubert’s Sentimental Education, the endings are more ambiguous, reflecting unresolved tensions between the protagonist's desires and societal expectations. This tension between individual growth and societal constraints is central to the Bildungsroman, especially in atypical examples where resolution remains elusive.

In Pride and Prejudice, Elizabeth Bennet’s receipt of Mr. Darcy’s letter in Chapter 36 marks a pivotal moment in her maturation. Initially, she struggles with her prejudices, but her gradual re-evaluation of Darcy’s character reflects her growing self-awareness and emotional complexity. As Christy points out, the Bildungsroman often uses external influences, such as secondary characters, to catalyze the protagonist's inner growth. In this case, Darcy’s letter compels Elizabeth to confront her biases and reconsider her judgments, mirroring the internal struggle and self-reflection typical of the genre. Austen’s use of free indirect discourse, blending the narrator’s voice with Elizabeth’s thoughts, further enhances the psychological depth of her transformation, drawing readers into her evolving consciousness.

Figure 4: Ave Maria

Elizabeth’s visit to Darcy’s estate, Pemberley, deepens her introspection. The elegance and restraint she observes in the estate prompt her to reassess Darcy’s character and reflect on her own misjudgments. This episode, which highlights both Elizabeth’s internal growth and her changing perspective on class and social dynamics, underscores the thematic concerns of the Bildungsroman—particularly the reconciliation of personal biases with societal structures.

Through Elizabeth’s journey, Austen captures the essence of the Bildungsroman, illustrating how personal development is intertwined with broader social influences. While the novel’s resolution in marriage aligns with the genre’s conventions, the psychological and emotional journey leading to this point reflects the complexities of self-discovery and maturation that are central to both the Bildungsroman and Austen’s narrative.

Conclusion

Jane Austen's Pride and Prejudice exemplifies the Bildungsroman genre, showcasing Elizabeth Bennet's profound journey of personal growth and self-discovery. Through a narrative structure that emphasizes character development over time, Austen portrays the complexities of self-determination and social integration—central themes of the coming-of-age novel. Elizabeth’s evolving perceptions, as she confronts her prejudices and misjudgments, highlight Austen’s ability to blend social commentary with intimate psychological exploration.

Austen’s focus on a confined social milieu, paired with her subtle critique of societal norms and class distinctions, reinforces the significance of the Bildungsroman as a genre that not only chronicles individual maturation but also reflects broader cultural and social shifts. Despite the novel’s seemingly straightforward plot and limited cast of characters, Austen’s mastery of style, particularly her use of free indirect discourse, allows for a deep exploration of the internal conflicts and resolutions that define the coming-of-age experience.

Bibliographical References

Austen, J. (1813). Pride and Prejudice. Salem Press.

Baker, W. (2008). Critical companion to Jane Austen: a literary reference to her life and work. Facts On File.

Bond, D. F., & Sherburn, G. (2003). The Literary History of England. Routledge.

Christy, G. M. A. (2016). Bildungsroman. THE DAWN JOURNAL, 5(1).

Jane Austen Society of North America. (2014). Elaine Bander. Jasna.org. https://jasna.org/persuasions/on-line/vol34no1/bander.html?

Moretti, F. (2000). The way of the world : the Bildungsroman in European culture. Verso.

NICOLSON, N. (1985). Jane Austen and the English Class System. Southwest Review, 70(2), 173–186. http://www.jstor.org/stable/43469736

Saintsbury, G., & Ray. (2005). A Short History of English Literature. Atlantic Publishers & Dist.

Svendsen, A. (2017). Amalie Due Svendsen. Leviathan: Interdisciplinary Journal in English, 1, 27-34. https://doi.org/10.7146/lev.v0i1.96779

W, M. (2017, October 24). A Brief Encounter with Jane Austen’s Aunt and Cousin, Paris 1786. Archives and Manuscripts at the Bodleian Library. https://blogs.bodleian.ox.ac.uk/archivesandmanuscripts/2017/10/24/a-brief-encounter-with-jane-austens-aunt-and-cousin-paris-1786/

Visual References