Особенности языка и стиля

(ch.III)

" Y our plan is a good one," replied Elizabeth, «where nothing is in question but the desire of being well married, and if I were determined to get a rich husband, or any husband, I dare say I should adopt it. B ut these are not Jane’s feelings; she is not acting by design. A s yet, she cannot even be certain of the degree of her own regard nor of its reasonableness. S he has known him only a fortnight.

(ch. VI)

" You saw me dance at Meryton, I believe, sir."

" Yes, indeed, and received no inconsiderable pleasure from the sight. Do you often dance at St. James’s?" (ch. VI)

Perhaps he had been civil only because he felt himself at ease; yet there had been that in his voice which was not like ease. (ch. XLIII)

They now walked on in silence, each of them deep in thought. Elizabeth was not comfortable; that was impossible; but she was flattered and pleased. (ch. XLIII) Use of antithesis helps to make the text of the novel highly expressive and attractive to the women admiring stylistic devices and text decorations.

Such a figure of speech as antithesis helps to bind together quite different and even opposed things generating from time to time ambivalence and ambiguity.

Antithesis of collocation consisting of no and an adjective having negative prefix is a vital way to make the phrase extremely expressive.

Antithesis is a one of the most favorite tropes in the novel aimed at distinguishing right and wrong, good and bad in the human existence, which is balanced between love and hatred.

Using antithesis in the portrayal of the heroes Jane Austen shows that human life is always a choice, that people must be responsible when making up their mind. The road leading to comforts for the main heroine is impossible because she can not go beyond her morale principles.

2.

1.6. Use of similes

" Perhaps I do. Arguments are too much like disputes. If you and Miss Bennet will defer yours till I am out of the room, I shall be very thankful; and then you may say whatever you like of me." (ch. X)

It seemed like wilful ill-nature, or a voluntary penance, for on these occasions it was not merely a few formal inquiries and an awkward pause and then away, but he actually thought it necessary to turn back and walk with her. (ch. XXXIII)

Perhaps he had been civil only because he felt himself at ease; yet there had been that in his voice which was not like ease. (ch. XLIII)

The intensification of some one feature of the concept in question is realized in similes. They are targeted at characterizing one object by bringing it into contact with another one belonging to an entirely different class of things.

Similes help Jane Austen to determine what is common and what is different in her characters' lifestyles.

Similes, though they are not as frequent as other tropes discussed above, encourage self-identification of the characters in quite an expressive way.

2.

1.7. Use of idioms

" You are over-scrupulous, surely. I dare say Mr. Bingley will be very glad to see you; and I will send a few lines by you to assure him of my hearty consent to his marrying whichever he chooses of the girls; though I must throw in a good word for my little Lizzy." (ch.I)

She is a selfish hypocritical woman, and I have no opinion of her. (ch. II)

Mrs. Long and her nieces must stand their chance. (ch. II)

‘And this is always the way with him,' she added. ‘Whatever can give his sister any pleasure, is sure to be done in a moment.' (ch. XLIII)

It might seem as if she had purposely thrown herself in his way again. (ch. XLIII)

" Upon my word! Well, that is very decided indeed—that does seem as if—but, however, it may all come to nothing, you know." (Ch.V)

…and Mary, at the end of a long concerto, was glad to purchase praise and gratitude by Scotch and Irish airs and graces, at the request of her younger sisters, who, with some of the Lucases, and two or three officers, joined eagerly in dancing at one end of the room. (ch. VI)

Idioms make the text of the novel fairly figurative.

They encourage the reader to pay attention to interpretation of some implicit information as in the idiom «have no opinion of», which is similar in its meaning to «have bad opinion of».

Jane Austen not only uses existing idioms but modifies them creating and developing a new meaning of the idiom «take one’s chance» (=take the opportunity of) — «venture» and «reconcile oneself to the situation or destiny».

Idioms may function as kind of introductory collocation, a sort of bias against something or somebody.

There are often metaphorical as «thrown oneself in sb’s way».

They may be absolutely emotional, equivalent to interjections, a form of expressing surprise, annoyance, etc.

They emphasize Jane Austen’s criticism of improper or sinful behaviour, her sarcasm and irony.

2.

2. Syntactical devices

2.

2.1. Use of direct speech

" What is his name?"

" Bingley."

" Is he married or single?"

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

" How so? How can it affect them?"

" My dear Mr. Bennet," replied his wife, «how can you be so tiresome! You must know that I am thinking of his marrying one of them.» (ch.I)

" But you forget, mamma," said Elizabeth, «that we shall meet him at the assemblies, and that Mrs. Long promised to introduce him.»

" I do not believe Mrs. Long will do any such thing. She has two nieces of her own. She is a selfish, hypocritical woman, and I have no opinion of her."

" No more have I," said Mr. Bennet; «and I am glad to find that you do not depend on her serving you.» (ch.II)

" Then, my dear, you may have the advantage of your friend, and introduce Mr. Bingley to her."

" Impossible, Mr. Bennet, impossible, when I am not acquainted with him myself; how can you be so teasing?" (ch. II)

" To-morrow fortnight."

" Aye, so it is," cried her mother, «and Mrs. Long does not come back till the day before; so it will be impossible for her to introduce him, for she will not know him herself.» (ch.II)

" What an excellent father you have, girls!" said she, when the door was shut. «I do not know how you will ever make him amends for his kindness; or me, either, for that matter. At our time of life it is not so pleasant, I can tell you, to be making new acquaintances every day; but for your sakes, we would do anything. Lydia, my love, though you are the youngest, I dare say Mr. Bingley will dance with you at the next ball.»

" Oh!" said Lydia stoutly, «I am not afraid; for though I am the youngest, I’m the tallest.» (ch.II)

" Come, Darcy," said he, «I must have you dance. I hate to see you standing about by yourself in this stupid manner. You had much better dance.»

" I certainly shall not. You know how I detest it, unless I am particularly acquainted with my partner. At such an assembly as this it would be insupportable. (ch.III)

" If he had had any compassion for me," cried her husband impatiently, «he would not have danced half so much! For God’s sake, say no more of his partners. O that he had sprained his ankle in the first place!»

" O h! my dear, I am quite delighted with him. H e is so excessively handsome! A nd his sisters are charming women. I

never in my life saw anything more elegant than their dresses. I dare say the lace upon Mrs. Hurst’s gown—" (ch.III)

" What a charming amusement for young people this is, Mr. Darcy! There is nothing like dancing after all. I consider it as one of the first refinements of polished society."

" Certainly, sir; and it has the advantage also of being in vogue amongst the less polished societies of the world. Every savage can dance." (ch. VI)

L ord! how I laughed! and so did Mrs. F orster. I

thought I should have died. A nd that made the men suspect something, and then they soon found out what was the matter." (ch. XXXIX) The direct speech in the novel, colloquial as it is, quite often reflects specifics of relations and attitudes among the characters.

The characters use a proper form of address outlining their emotional approach to the listener.

Their replicas are interconnected, as their communication is carried out in the same household or in a meeting of relatives, friends or relations.

They may omit unnecessary words as in «Impossible» (= it is impossible), as they can understand each other visually even without words.

They like using interjections to show their emphatic and emotional readiness to agree (Aye).

They can’t do without exclamations, emotional or formal forms of address, interjections as their emotions appear and develop, come and go, giving the way to other emotions.

Their evaluations differ a lot, they show their likes and dislikes spontaneously.

The direct speech in the novel reflects the way how Jane Austen contemporaries used to love and hate each other depending on their morale, mood and social strategy, such as willing to get married without any bad luck.

The words and collocations chosen by the characters reflect their imagination, self-confidence, self-respect, willing to be as much courteous and polite as possible when being engaged in the small talk.

Their phrases may be very short, with gaps outlining strength of their emotions.

2.

2.2. Use of uttered reported speech

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

Mr. Bennet replied that he had not. (ch.1)

" Then you would drink a great deal more than you ought," said Mrs. Bennet; «and if I were to see you at it, I should take away your bottle directly.»

The boy protested that she should not; she continued to declare that she would, and the argument ended only with the visit. (ch. V)

" When I said that he improved on acquaintance, I did not mean that his mind or his manners were in a state of improvement, but that, from knowing him better, his disposition was better understood." (ch. XLI)

He acknowledged the truth of it all, and said that business with his steward had occasioned his coming forward a few hours before the rest of the party with whom he had been travelling. «They will join me early to-morrow,» he continued, «and among them are some who will claim an acquaintance with you—Mr. Bingley and his sisters.» (ch. XLIII)

H e then asked her to walk into the house—but she declared herself not tired, and they stood together on the lawn. A t such a time much might have been said, and silence was very awkward. S

he wanted to talk, but there seemed to be an embargo on every subject. A t last she recollected that she had been travelling, and they talked of Matlock and Dove Dale with great perseverance. Y et time and her aunt moved slowly—and her patience and her ideas were nearly worn our before the tete-a-tete was over. (

ch. XLIII)

The uttered reported speech is not so frequent as the direct one. It is used when Jane Austens does not want to use clichés.

The uttered reported often interfere with the direct one, when the narrator prefers to introduce her own opinion of the characters' speech.

Sometimes the characters themselves use uttered reported speech when referring to what had been said before.

Jane Austen resorts to the help of uttered reported speech when judging her characters' verbal behaviour.

She refuses to represent her characters' speech word for word trying to describe the situation in short but exactly according to her own interpretation of this or that situation.

2.

2.3. Use of unuttered reported speech

Mr. Bingley had soon made himself acquainted with all the principal people in the room; he was lively and unreserved, danced every dance, was angry that the ball closed so early, and talked of giving one himself at Netherfield. Such amiable qualities must speak for themselves. What a contrast between him and his friend! (ch.III)

He had rather hoped that his wife’s views on the stranger would be disappointed; but he soon found out that he had a different story to hear. (ch.III)

Miss Bingley immediately fixed her eyes on his face, and desired he would tell her what lady had the credit of inspiring such reflections. (ch. VI)

T he tumult of her mind, was now painfully great. S he knew not how to support herself, and from actual weakness sat down and cried for half-an-hour. H er astonishment, as she reflected on what had passed, was increased by every review of it. T

hat she should receive an offer of marriage from Mr. D arcy! T hat he should have been in love with her for so many months! S

o much in love as to wish to marry her in spite of all the objections which had made him prevent his friend’s marrying her sister, and which must appear at least with equal force in his own case—was almost incredible! I t was gratifying to have inspired unconsciously so strong an affection. (

ch. XXXIV) Unuttered reported speech is represented by Jane Austen in such a way as if she could read her characters' thoughts easily.

Appearing as all-knowing narrator Jane Austen represents her characters' hopes and desires as if those hopes had been of hers.

She is not willing to represent the characters' stream of consciousness in a form of some voice like J. Joyce or V. Woolfe.

It seems as if Jane Austen were somewhere inside her characters, like God, following and judging them without their knowing.

2.

2.4. Use of gap-sentence links

Mr. Robinson’s asking him how he liked our Meryton assemblies, and whether he did not think there were a great many pretty women in the room, and which he thought the prettiest? and his answering immediately to the last question: 'Oh! the eldest Miss Bennet, beyond a doubt; there cannot be two opinions on that point.'" (ch.V)

" Miss Elizabeth Bennet!" repeated Miss Bingley. «I am all astonishment. How long has she been such a favourite?—and pray, when am I to wish you joy?» (ch. VI)

But his pride, his abominable pride—his shameless avowal of what he had done with respect to Jane—his unpardonable assurance in acknowledging, though he could not justify it, and the unfeeling manner in which he had mentioned Mr. Wickham, his cruelty towards whom he had not attempted to deny, soon overcame the pity which the consideration of his attachment had for a moment excited. (ch. XXXIV) The gap-sentence links is a way to make narration more spontaneous. The gap-sentence links are a fairly frequent phenomenon as the characters' speech and thoughts are highly compounded.

Jane Austen shows using gap-sentence links that her characters' thoughts interfere.

Her own comments interfere as well a she experiences emotions too and has to distract her attention to some other things to attain a clearer and more precise description of anything worth keeping attention to.

2.

2.4. Use of rhetorical questions

" What can be the meaning of that emphatic exclamation?" cried he. «Do you consider the forms of introduction, and the stress that is laid on them, as nonsense? I cannot quite agree with you there. (ch. II)

" I was very much flattered by his asking me to dance a second time. I did not expect such a compliment."

" D id not you? I did for you.

B ut that is one great difference between us. C ompliments always take you by surprise, and me never. W hat could be more natural than his asking you again?

H e could not help seeing that you were about five times as pretty as every other woman in the room. N o thanks to his gallantry for that.

(ch.IV)

" Perhaps you mean what I overheard between him and Mr. Robinson; did not I mention it to you? (ch.V)

" What does Mr. Darcy mean," said she to Charlotte, «by listening to my conversation with Colonel Forster?»

" That is a question which Mr. Darcy only can answer." (ch. VI)

How long has she been such a favourite?—and pray, when am I to wish you joy?"

" That is exactly the question which I expected you to ask. A lady’s imagination is very rapid; it jumps from admiration to love, from love to matrimony, in a moment. I knew you would be wishing me joy." (ch. VI)

" I might as well inquire," replied she, «why with so evident a desire of offending and insulting me, you chose to tell me that you liked me against your will, against your reason, and even against your character? W as not this some excuse for incivility, if I was uncivil? B

ut I have other provocations. Y ou know I have. H ad not my feelings decided against you—had they been indifferent, or had they even been favourable, do you think that any consideration would tempt me to accept the man who has been the means of ruining, perhaps for ever, the happiness of a most beloved sister?" (ch. XXXIV)

" Who that knows what his misfortunes have been, can help feeling an interest in him?"

" His misfortunes!" repeated Darcy contemptuously; «yes, his misfortunes have been great indeed.»

" And of your infliction," cried Elizabeth with energy. «You have reduced him to his present state of poverty—comparative poverty. (ch. XXXIV)

… They were natural and just. Could you expect me to rejoice in the inferiority of your connections?—to congratulate myself on the hope of relations, whose condition in life is so decidedly beneath my own?" (ch. XXXIV)

" Pray, Miss Eliza, are not the ——shire Militia removed from Meryton? They must be a great loss to your family."

In Darcy’s presence she dared not mention Wickham’s name; but Elizabeth instantly comprehended that he was uppermost in her thoughts… (ch. XLV)

We should take into consideration that rhetorical questions as a rule are asked not by the narrator but the characters.

The characters like asking rhetorical questions to emphasize their confidence, doubt or greatness of some phenomenon.

Rhetorical questions they ask are just another form of gallantry.

Rhetorical questions are the questions they ask themselves but can not give a right answer.

This syntactical device is an essential way to increase expressivity of the communication in the novel.

Rhetorical questions help Jane Austen to show that her characters are always looking for some answer to their social problems they can not solve without suffering and trying to catch the truth.

Rhetorical questions are an important way to show doubts and willingness to be better, to consider everything so as not to harm others' interests and not to make them suffer in vain.

Use of rhetorical questions enables to understand what is happening in the hearts of the characters, who are racked with remorse.

They show that inside the characters there exist some other characters (or voices) somehow speaking and listening to each other.

Conclusion

Belles-lettres or literary texts are just one of a number of various functional styles. Even within the functional style of belles-lettres there is great difference in use of various style features. For example, emotive prose is a combination of literary variant of the language and colloquial, which is presented by the speech of the characters which is stylized that means it has been made «literature like» and some elements of conversational English were made use of. Emotive prose allows to get advantage of elements of other styles but the author changes them and fulfils a certain function.

In linguistics there are different terms denoting these or those particular means by which a writer obtains his or her effect. Expressive means, stylistic means, stylistic devices and other terms are all used indiscriminately for our purposes it is necessary to make a distinction between expressive means and stylistic devices. All stylistic means of a language can be divided into expressive means, which are used in some specific way, and special devices called stylistic devices. The expressive means of a language comprise some particular phonetic means, morphological forms, various means of word-building, and lexical, phraseological and syntactical forms, all of which function in the language for emotional or logical intensification of the utterance.

In every individual style we can find both the general and the particular. The greater the author is, the more genuine the style will be. Succeeding in isolating and examining the choices which the writer prefers, we can define what the particulars that make up the literary style and make it recognizable. The individuality of a writer is shown not only in the choice of lexical, syntactical and stylistic means but also in their treatment. What we here call individual style, therefore, is a unique combination of language units, expressive means and stylistic devices peculiar to a given writer; which makes that writer’s works or even utterances easily recognizable.

The British late 18th — early 19th century belles-lettres had its own specific style features, which were common for many writers, especially those who were loyal to the old British prose traditions dating back to the first women-writers. Taking «Pride and Prejudice» by J. Austen as an example, we can formulate the following common style features:

Neutral and colloquial vocabulary is proper both to the author commenting the narration and evaluating the heroes' behaviour and the characters' direct speech represented in the novel.

The heroes of «Pride and Prejudice» use colloquial vocabulary as well full of emotions, expressed by means of a great number of epithets, metaphors, hyperboles.

Colloquial vocabulary having expressiveness and emotiveness is quite more often used in both direct and reported speech, with various forms of etiquette and address as well as interjections and idioms used to show the characters from their point of view, that of other characters and the narrator herself.

The speech in the novel is highly colloquial and expressive when showing the heroes' attitude to one another, rhetoric questions dominating in the direct speech of the characters.

Antithesis is often used to make the style of the novel more expressive, to create an atmosphere of controversy and ambiguity.

Jane Austen quite often introduces the direct speech, minimising uttered represented speech to the cases where the former would be superfluous.

Not only uttered represented speech does Jane Austen actively use to show the characters' genuine thoughts, but also unuttered or inner represented speech as if she could hear or see their thoughts, fears and doubts.

Besides the difference in the type of represented speech used, Jane Austen’s utterance structuring is reflected in the gap-sentence link, showing the characters' hesitation.

The proper interpretation of the novel, in our opinion, significantly depends on such tropes as metaphor, irony, epithet, metonymy, antithesis and simile.

The epithets, based on the interplay of emotive and logical meaning in an attributive word, phrase or even sentence, used to characterize an object and pointing out to the reader some of the properties or features of the object with the aim of giving an individual perception and evaluation of these features or properties, are quite often used to portray the characters' appearance and personality. The simple and compound epithets used by Jane Austen may at the same time be tools of irony.

The similes giving rise to a new understanding of the object are used by Jane Austen to make her narration more vivid and emotional, to see the females' behaviour in close association with the Bible and the reader’s conception of the common and uncommon.

Bibliography

Arnold I. V. The English Word. — Moscow, 1986. — 124р.

Auerbach E. Searching for Jane Austen. — Madison: Univ. of Wisconsin Press, 2004. 175p.

Austen J. Mansfield Park. — London: Zodiac press, 1949. — 356 p.

Austen J. Northanger abbey. — Moscow: Astrel, 2005. — 248p.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — 351p.

Austen J. Sense and sensibility. — London: Penguin books, 1995. — 346 p.

Austen-Leigh R. A. Jane Austen. Her life and letters. — London, 1913. — 189p.

Bailey R. Nineteenth-Century English.- Ann Arbor: The University of Michigan Press, 1996. — 387p.

Bakhtin M. The Dialogic Imagination. — Austin: University of Texas Press, 1981. — 354p.

Berglund B. Woman’s whole existence: The house as an image in the novels of Ann Radcliffe, Mary Wollstonecraft and Jane Austen. — Lund: Lund univ. press; Bromley (Kent): Chartwell-Bratt, 1993. — 244p.

Chapman R. Linguistics and Literature: An Introduction to Literary Stylistics. Totowa, N. J.: Littlefield, Adams & Co., 1973. — 289p.

Crystal D. and Davy D. Investigating English Style. London and New York: Longman, 1969. — 254p.

Deresiewicz W. Jane Austen and the romantic poets. — New York: Columbia UP, 2004. 234p.

Galperin I. R. The English Language Stylistics. — M., 1977. — 354p.

Gard R. Jane Austen’s novels. The art of clarityL.: Yale univ. press, 1994. 261p.

Gaylin A. Eavesdropping in the novel from Austen to Proust. — Cambridge, UK: Cambridge University Press, 2002 .- 326p.

Giffin M. Jane Austen and religion. Salvation and society in Georgian England — Cambridge, UK: Cambridge University Press, 2002. 276p.

Gregory M. & Carroll S. Language and Situation: Language Varieties in their Social Contexts. London: Routledge & Kegan Paul, 1978. — 276p.

Honan P. Jane Austen. Her life — London: Oxford University Press, 1987. 354p.

Jenkyns R. A fine brush on ivory. An appreciation of Jane Austen — Oxford, Oxford University Press, 2004. 276p.

Johnson C. L. Jane Austen: Women, Politics, and the Novel. — Chicago: University of Chicago Press, 1988. — 175p.

Kelly G. Women, Writing, and Revolution 1790−1827. — Oxford: Clarendon Press, 1992. — 232p.

Kirkham M. Jane Austen, Feminism and Fiction. — Brighton, Sussex: Barnes & Noble, 1983. — 197p.

Landes J. B. Women and the Public Sphere in the Age of the French Revolution. -Ithaca, NY: Cornell University Press, 1988. — 312p.

Le Faye D. Jane Austen. — Cambridge: Cambridge Univ. Press, 1998. 286p.

Leech G. N. and Short M. H. Style in Fiction: A Linguistic Introduction to English Fictional Prose. London and New York: Longman, 1981. — 342p.

Looser D. (ed.) Jane Austen and discourses of feminism. — NY: St. Martin’s Press, 1995. 197 p.

MacDonagh O. Jane Austen: Real and imagined worlds. — New Haven; London: Yale univ. press, 1993. — 187p.

Myer V. G. Jane Austen, obstinate heart. A biography — NY: Arcade Publ., 1997. 268 p.

Myers S. H. The Bluestocking Circle.- Women, Friendship, and the Life of the Mind in Eighteenth-Century England. — Oxford: Clarendon Press, 1990. — 176p.

Parrill S. Jane Austen on film and television. A critical study of the adaptations — Jefferson: McFarland & Company, 2002. 229p.

Southam B. Jane Austen: The Critical Heritage. — London: Routledge & Kegan Paul, 1968. — 287p.

Spencer J. The Rise of the Woman Novelist from Aphra Behn to Jane Austen. — Oxford, 1982. — 276p.

Tuite C. Romantic Austen and sexual politics and the literary canon — Cambridge: Cambridge Univ. Press, 2002. — 231p.

Wallace T. G. Jane Austen and narrative authority. — New York: St. Martin press, 1995. — 155p.

Widdowson H. G. Stylistics and the Teaching of Literature. Essex: Longman, 1975. — 276p.

Wiltshire J. Recreating Jane Austen. — Cambridge: Cambridge Univ. Press, 2002. — 275p.

Алефиренко Н. Ф. Поэтическая энергия слова. Синергетика языка, сознания и культуры. — М.: Гнозис, 2002. — 394c.

Арнольд И. В. Стилистика. Современный английский язык. — М.: Флинта, 2002. — 215c.

Андреева К. А. Литературный нарратив: когнитивные аспекты текстовой семантики, грамматики, поэтики. — Тюмень: Вектор Бук, 2004. — 119c.

Арутюнова Н. Д. Оценка в механизмах жизни и языка // Арутюнова Н. Д. Язык и мир человека. — М.: Языки русской культуры, 1999. — С. 130−274.

Гальперин И. Р. Текст как объект лингвистического исследования. — М.: Наука, 1981. — 200c.

Гончарова Е.А., Шишкина И. П. Интерпретация текста. — М.: Высшая Школа, 2005. — 670c.

Николина Н. А. Филологический анализ текста. — М.: Академия, 2003. — 256c.

Успенский Б. Поэтика композиции. — СПб.: Азбука, 2000. — 348c.

Филиппов К. А. Лингвистика текста. — СПб.: СПбГУ, 2003. — 331c.

Арнольд И. В. Стилистика. Современный английский язык. — М.: Флинта, 2002. — C. 317.

Филиппов К. А. Лингвистика текста. — СПб.: СПбГУ, 2003.

Гальперин И. Р. Текст как объект лингвистического исследования. — М.: Наука, 1981.

Николина Н. А. Филологический анализ текста. — М.: Академия, 2003.

Bailey R. Nineteenth-Century English.- Ann Arbor: The University of Michigan Press, 1996. — P. 75.

Wallace T. G. Jane Austen and narrative authority. — New York: St. Martin press, 1995. — P. 12.

Berglund B. Woman’s whole existence: The house as an image in the novels of Ann Radcliffe, Mary Wollstonecraft and Jane Austen. — Lund: Lund univ. press; Bromley (Kent): Chartwell-Bratt, 1993. — P. 23.

Гончарова Е.А., Шишкина И. П. Интерпретация текста. — М.: Высшая Школа, 2005.

Kelly G. Women, Writing, and Revolution 1790−1827. — Oxford: Clarendon Press, 1992. — P. 13.

Kirkham M. Jane Austen, Feminism and Fiction. — Brighton, Sussex: Barnes & Noble, 1983.

Auerbach E. Searching for Jane Austen. — Madison: Univ. of Wisconsin Press, 2004. P. 65.

Austen J. Sense and sensibility. — London: Penguin books, 1995.

Austen J. Northanger abbey. — Moscow: Astrel, 2005.

Auerbach E. Searching for Jane Austen. — Madison: Univ. of Wisconsin Press, 2004. P. 78.

Deresiewicz W. Jane Austen and the romantic poets. — New York: Columbia UP, 2004. P. 132.

Southam B. Jane Austen: The Critical Heritage. — London: Routledge & Kegan Paul, 1968. — P. 254.

Tuite C. Romantic Austen and sexual politics and the literary canon — Cambridge: Cambridge Univ. Press, 2002.

Spencer J. The Rise of the Woman Novelist from Aphra Behn to Jane Austen. — Oxford, 1982.

Myers S. H. The Bluestocking Circle.- Women, Friendship, and the Life of the Mind in Eighteenth-Century England. — Oxford: Clarendon Press, 1990. — P. 78.

Myer V. G. Jane Austen, obstinate heart. A biography — NY: Arcade Publ., 1997. P. 167.

Looser D. (ed.) Jane Austen and discourses of feminism. — NY: St. Martin’s Press, 1995.

Giffin M. Jane Austen and religion. Salvation and society in Georgian England — Cambridge, UK: Cambridge University Press, 2002. P. 89.

Honan P. Jane Austen. Her life — London: Oxford University Press, 1987. P. 98.

Jenkyns R. A fine brush on ivory. An appreciation of Jane Austen — Oxford, Oxford University Press, 2004. P. 264.

Southam B. Jane Austen: The Critical Heritage. — London: Routledge & Kegan Paul, 1968. — P. 197−198.

Kelly G. Women, Writing, and Revolution 1790−1827. — Oxford: Clarendon Press, 1992.

Jenkyns R. A fine brush on ivory. An appreciation of Jane Austen — Oxford, Oxford University Press, 2004. P. 67.

Honan P. Jane Austen. Her life — London: Oxford University Press, 1987. P. 78.

Austen J. Sense and sensibility. — London: Penguin books, 1995.

Gard R. Jane Austen’s novels. The art of clarityL.: Yale univ. press, 1994. P. 134.

Berglund B. Woman’s whole existence: The house as an image in the novels of Ann Radcliffe, Mary Wollstonecraft and Jane Austen. — Lund: Lund univ. press; Bromley (Kent): Chartwell-Bratt, 1993. — P. 87.

Honan P. Jane Austen. Her life — London: Oxford University Press, 1987.

Austen J. Mansfield Park. — London: Zodiac press, 1949.

Wiltshire J. Recreating Jane Austen. — Cambridge: Cambridge Univ. Press, 2002. — P. 65.

Tuite C. Romantic Austen and sexual politics and the literary canon — Cambridge: Cambridge Univ. Press, 2002. — P. 98.

Myers S. H. The Bluestocking Circle.- Women, Friendship, and the Life of the Mind in Eighteenth-Century England. — Oxford: Clarendon Press, 1990. — P. 64.

Le Faye D. Jane Austen. — Cambridge: Cambridge Univ. Press, 1998. P. 94.

Kelly G. Women, Writing, and Revolution 1790−1827. — Oxford: Clarendon Press, 1992.

Johnson C. L. Jane Austen: Women, Politics, and the Novel. — Chicago: University of Chicago Press, 1988.

Giffin M. Jane Austen and religion. Salvation and society in Georgian England — Cambridge, UK: Cambridge University Press, 2002.

Kirkham M. Jane Austen, Feminism and Fiction. — Brighton, Sussex: Barnes & Noble, 1983. — P. 65.

Jenkyns R. A fine brush on ivory. An appreciation of Jane Austen — Oxford, Oxford University Press, 2004. P. 98.

Kelly G. Women, Writing, and Revolution 1790−1827. — Oxford: Clarendon Press, 1992.

Johnson C. L. Jane Austen: Women, Politics, and the Novel. — Chicago: University of Chicago Press, 1988.

Landes J. B. Women and the Public Sphere in the Age of the French Revolution. -Ithaca, NY: Cornell University Press, 1988.

Myers S. H. The Bluestocking Circle.- Women, Friendship, and the Life of the Mind in Eighteenth-Century England. — Oxford: Clarendon Press, 1990.

Kelly G. Women, Writing, and Revolution 1790−1827. — Oxford: Clarendon Press, 1992.

Myers S. H. The Bluestocking Circle.- Women, Friendship, and the Life of the Mind in Eighteenth-Century England. — Oxford: Clarendon Press, 1990.

Landes J. B. Women and the Public Sphere in the Age of the French Revolution. -Ithaca, NY: Cornell University Press, 1988.

Myers S. H. The Bluestocking Circle.- Women, Friendship, and the Life of the Mind in Eighteenth-Century England. — Oxford: Clarendon Press, 1990.

Johnson C. L. Jane Austen: Women, Politics, and the Novel. — Chicago: University of Chicago Press, 1988. — P. 65.

Landes J. B. Women and the Public Sphere in the Age of the French Revolution. -Ithaca, NY: Cornell University Press, 1988. — P. 143.

Auerbach E. Searching for Jane Austen. — Madison: Univ. of Wisconsin Press, 2004. P. 96.

Deresiewicz W. Jane Austen and the romantic poets. — New York: Columbia UP, 2004. P. 86.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P. 135.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P. 135.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P. 136.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P. 136.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P. 15.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P. 14.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P. 137.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P. 183.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P. 120.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P. 136.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P. 135.

Crystal D. and Davy D. Investigating English Style. London and New York: Longman, 1969. — P. 176.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P. 224.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P.

86.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P.

96.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P.

205.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P.

202.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P.

250.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P.

258.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P.

81.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P.

282.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P. 283.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P.

82.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P. 328.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P.

329.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P.

330.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P.

354.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P.

279.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P. 122.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P. 123.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P.124−125.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P. 168.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P.

156.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P.

216.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P. 22−23.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P. 216.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P.

147.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P.

181.

Austen J. Pride and prejudice. — Oxford etc.: Oxford univ. press, 1980. — P.

135.

Galperin I. R. The English Language Stylistics. — M., 1977. -P. 139−140.