“Tell me, once for all, are you engaged to him?” demands Lady Catherine.
Though Elizabeth has no cause to oblige Lady Catherine by giving a reply, her own candour and self-respect compel her to answer, “I am not.”
Lady Catherine shows herself pleased. “And will you promise me never to enter into such an engagement?” She pursues her advantage with determination. “I will make no promises of the kind,” Elizabeth refuses point-blank, and Lady Catherine’s short-lived satisfaction is dashed to the ground. She resumes her reproaches. She is shocked. At last she is guilty of the meanness and cruelty of taunting Elizabeth with her sister Lydia’s misconduct, ending by crying, “And is such a girl to be my nephew’s sister? Is her husband—the son of his father’s late steward—to be his brother? Heaven and earth, of what are you thinking? Are the shades of Pemberley to be thus polluted?”
The extravagant theatrical declamation of her ladyship might have provoked a smile from Elizabeth, but she has already borne too much, and she winces under the last ungenerous stab. “You can have nothing further to say to me,” she exclaims, in her wounded feeling, with a simple dignity that contrasts well with the inflated pretensions of the other. “You have insulted me in every possible method; I must beg to return to the house.”
Lady Catherine is not to be taught a lesson: she has long outlived such a possibility. The thick skin of her arrogance and conceit is impenetrable. She assails Elizabeth with fresh abuse and importunity.
“Lady Catherine, I have nothing further to say,” Elizabeth contents herself with repeating. “You know my sentiments.”
Lady Catherine talks on till the carriage is reached, when she finishes her prolonged attack very characteristically. “I take no leave of you, Miss Bennet; I send no compliments to your mother; you deserve no such attention. I am most seriously displeased.”
The interview between Lady Catherine and Elizabeth, like the scene in which Mr. Collins proposes to the heroine, is a triumph of art. It is the perfection of true comedy, as opposed to the coarse farce which frequently stands for it, not only in its wonderful exhibition of Lady Catherine’s densely stupid egotism and self-importance, but in what is so successfully opposed to them in Elizabeth Bennet’s strong common sense, racy mother wit, and sterling truth to her lover and to herself. Where a weak woman might have been cowed—at least, into a show of yielding for the time—or a foolishly sentimental girl might have been betrayed by the false glamour of unnecessary and uncalled-for self-sacrifice, Elizabeth stands firm, and comes out triumphantly. The whole passage, in its genius and wisdom, is a protest against the bathos of mock heroism, which is occasionally in danger of entrapping unwary actors in the drama of life. It is still more apt to mislead the artists who picture life, and mistake soft, even silly submission for unselfish resignation, and self-martyrdom for true martyrdom.
Elizabeth Bennet is dutiful in all the relations of life; she is even scrupulous as to its proprieties; but she is not a puppet in the hands of a Lady Catherine.
There is a curiously parallel scene drawn by one of Jane Austen’s favourite authors—Fanny Burney, in her novel of “Cecilia”—where the heroine is driven by nearly similar arguments—employed, however, by the mother, and not merely the aunt of the hero, who has also been a true friend, to whom Cecilia was deeply indebted—to give up the lover to whom she is doubly bound. In spite of these differences in the situation, which are in Fanny Burney’s favour, the opposite results of the two chapters go far to prove the immense superiority of Jane Austen as a writer.