Paper 103: Social Manners and Moral Growth: Elizabeth Bennet as a Modern Heroine

This blog is a part of the assignment Paper 103: Literature of the Romantics

Social Manners and Moral Growth: Elizabeth Bennet as a Modern Heroine

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Table of Contents

• Academic Details:
• Assignment Details:
• Abstract:
• Keywords:
• Research Question:
• Hypothesis:

1. Introduction

2. Defining the Modern Heroine: Wit, Irony, and Independence

• 2.1. Elizabeth's Intellectual Agency
• 2.2. The Subversive Power of Austen's Narrative Voice

3. The Performance of Social Manners: Elizabeth as a Critic

• 3.1. Wit as a Defense Mechanism and Social Tool

4. Moral Reorientation: The Fallacy of First Impressions

• 4.1. The Crisis of Prejudice: Darcy's Letter and Self-Recognition
• 4.2. The Expansion of Empathy at Pemberley

5. Comparative Characterisation: Setting the Modern Path

• 5.1. Jane Bennet: The Limitations of Ideal Goodness
• 5.2. Charlotte Lucas: Pragmatism versus Modernity (Moe's Analysis)

6. Elizabeth's Triumph: The Integration of Individual and Society

• 6.1. Negotiating Class and Power (Anderson's Insight)
• 6.2. The Modern Marriage: A Union of Mind and Moral

7. Conclusion

References

Academic Details: 

• Name: Priya A. Rathod 
• Roll No.: 21 
• Enrollment No.: 5108250028  
• Sem.: 1 
• Batch: 2025-27 
• E-mail: priyarathod315@gmail.com   

Assignment Details: 

• Paper Name:  Literature of the Romantics
• Paper No.: 103
• Paper Code: 22394
• Unit: 1
• Topic: Social Manners and Moral Growth: Elizabeth Bennet as a Modern Heroine
• Submitted To: Smt. Sujata Binoy Gardi, Department of English, Maharaja Krishnakumarsinhji Bhavnagar University 
• Submitted Date: November 10, 2025  

The following information numbers are counted using Quill Bot:

• Images: 3
• Words: 3061
• Characters:  20358
• Characters without spaces:  17195
• Paragraphs:  52
• Sentences:  190
• Reading time: 12m 15s

Abstract:

This paper examines Elizabeth Bennet's character development in Jane Austen's Pride and Prejudice as a definitive portrait of the modern heroine. The study posits that her modernity is defined not by wholesale rebellion against early nineteenth-century social structures, but by her distinctive ability to blend intellectual independence and self-critical moral growth within the confines of established social manners. By analysing her initial defiance, particularly her sharp wit, as a critical tool, the paper traces Elizabeth’s evolution from a flawed social critic (burdened by 'prejudice') to a morally grounded individual capable of accepting a marriage that successfully integrates individual desires with social obligations. Drawing on critical perspectives from Morgan, Newton, and Moe, the analysis demonstrates how Austen uses Elizabeth's journey to subvert traditional feminine roles and propose a new model of social heroism, one founded on self-knowledge, intellectual parity, and an enlightened understanding of social interdependence. Ultimately, Elizabeth's triumph is presented as Austen’s subtle commentary on the necessity of intellectual and moral flexibility for achieving genuine happiness within a rigid social order.

Keywords:

Jane Austen, Pride and Prejudice, Elizabeth Bennet, modern heroine, social manners, moral growth, prejudice, wit, intellectual independence, subversion.

Research Question:

How does Elizabeth Bennet’s blend of intellectual independence and self-corrective moral growth establish her as a modern heroine within the constraints of Regency social manners in Jane Austen’s Pride and Prejudice?

Hypothesis:

Elizabeth Bennet becomes a model of the modern heroine not through rebellion against social norms, but through her ability to maintain intellectual agency while embracing moral self-improvement. This balance enables her to challenge superficial societal expectations, correct her own flawed judgments, and ultimately achieve a marriage based on mutual respect, demonstrating that true modernity lies in the integration of individual integrity with societal participation.

1.   Introduction

Title Page of Jane Austen's 'Pride and Prejudice'

Jane Austen’s Pride and Prejudice remains a cornerstone of English literature, largely due to the enduring appeal of its protagonist, Elizabeth Bennet. Unlike the passive or perfectly virtuous heroines of earlier fiction, Elizabeth possesses a spirited blend of intelligence, humour, and frankness that establishes her as a unique figure in the literary landscape of the early nineteenth century. This paper argues that Elizabeth Bennet embodies the archetype of the modern heroine by masterfully navigating the strictures of Regency social manners while undergoing a profound process of moral and intellectual growth. Her journey is not one of radical societal upheaval, but rather a sophisticated internal evolution that allows her to secure happiness based on merit, character, and mutual respect, thereby subverting traditional expectations for women of her class. Her critical engagement with, and eventual mature integration into, society distinguishes her as a forward-thinking and morally robust character who transcends the limitations of her age.

2. Defining the Modern Heroine: Wit, Irony, and Independence

The 'modern heroine' in Austen’s context is not necessarily one who rejects the institution of marriage or society entirely, but one who demands psychological agency and intellectual equality within those institutions. Elizabeth Bennet’s early defining characteristic is her intellectual prowess, which she employs primarily through wit and irony. She refuses to adopt the passive, compliant role expected of young women seeking an advantageous match. Instead, she exercises her intelligence as an active tool for observation and judgment, creating an intellectual distance between herself and the social spectacle around her. This distance is foundational to her perceived modernity. She explains her approach: "I hope I never ridicule what is wise or good. Follies and nonsense, whims and inconsistencies, do divert me, I own, and I laugh at them whenever I can."

Her tendency towards pointed satire and sharp commentary marks her independence, particularly when contrasting her with her mother's mercenary focus and her father's detached cynicism. As Anderson observes, the relationship between character and speech is critical in Pride and Prejudice, and Elizabeth's articulate dialogue is a direct expression of her unique, independent character (Anderson).

2.1. Elizabeth's Intellectual Agency

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Elizabeth's intelligence is a continuous source of both her charm and her errors. Morgan, in the essay “Intelligence in ‘Pride and Prejudice,’ argues that Elizabeth’s intelligence is fundamentally defined by its activity it is not a passive quality but a dynamic force used to read, judge, and interpret the social world (Morgan). This active intelligence often manifests as a proud self-confidence in her own perceptive powers. She is not content to accept received wisdom; she must test it and interpret it for herself.

However, this reliance on her own superior judgment is precisely what leads to her central moral flaw: prejudice. Her confidence in her ability to "read" character accurately (her quick dismissal of Darcy and her immediate acceptance of Wickham) demonstrates that mere intellect, unguided by humility or emotional intelligence, can be deeply flawed. The crisis of the novel is essentially the crisis of Elizabeth's intelligence she must learn that true understanding requires more than sharp observation; it requires the capacity for self-critique and the allowance of ambiguity.

The exchange with Darcy at Netherfield, where she defends the 'liveliness' of her mind, reinforces the centrality of her intelligence: "My courage always rises at every attempt to intimidate me". This intellectual courage, even if misplaced initially, is the engine of her moral growth and the bedrock of her appeal as a modern heroine she seeks to engage, not merely accept, the intellectual world around her. Her refusal to flatter, for instance, sets her apart from every other young woman in the sphere, yet this very boldness is what allows her to be so easily misled by a skilled performer like Wickham. Her initial conviction that she alone possesses true discernment must be shattered before her intellectual gift can become a truly moral force.

2.2. The Subversive Power of Austen's Narrative Voice

Elizabeth’s independence is inextricably linked to Austen’s narrative strategy, which often employs free indirect discourse to merge Elizabeth's witty, critical voice with the authorial commentary. This narrative choice gives Elizabeth a unique kind of power.

Judith Lowder Newton’s seminal work, “‘Pride and Prejudice’: Power, Fantasy, and Subversion in Jane Austen,” explores how the novel engages with and subtly subverts the existing power structures related to economics and gender (Newton). Newton suggests that while the novel appears to conform to the ultimate goal of marriage, the narrative empowers Elizabeth through her refusal to be easily dominated socially, economically, or psychologically. Her defiant refusal of Mr. Collins’s proposal, and later her rejection of Darcy's first offer, are not just personal choices but powerful political gestures within the narrow confines of her society. To Mr. Collins, she states: "You could not make me happy, and I am convinced that I am the last woman in the world who could make you so." She uses her limited agency her power of refusal to assert the value of self-respect and emotional connection over material advantage.

This subversion defines her as modern because she prioritizes subjective moral and emotional satisfaction over the objective, material security that society dictates. This act is dangerous and could lead to ruin, but her success in achieving both love and wealth validates the pursuit of personal integrity as a viable, albeit risky, path to happiness.

3. The Performance of Social Manners: Elizabeth as a Critic

In the world of Pride and Prejudice, social life is largely a sustained performance, and manners are the scripts. Elizabeth’s interaction with this system is marked by an initial, vigorous critical stance. She views the artificiality of figures like Miss Bingley, the obsequiousness of Mr. Collins, and the arrogance of Lady Catherine de Bourgh as targets for her humour.

3.1. Wit as a Defense Mechanism and Social Tool

Elizabeth's wit is her primary tool for navigating the social sphere. It is a defense mechanism against social pressure and a means of establishing her intellectual superiority. Early in the novel, her conversations are often playful jousts that she is determined to win. She uses her humour not for mere amusement, but as a form of social analysis, sifting the genuine from the pretentious.

However, her sharp tongue occasionally crosses the line from keen observation into cynical misjudgment. Her early, unwavering prejudice against Darcy is rooted in this over-reliance on her initial, witty character assessment, stemming from his famous Meryton insult: "She is tolerable; but not handsome enough to tempt me; and I am in no humour at present to give consequence to young ladies who are slighted by other men." She prefers the superficial charm of Wickham precisely because he plays the role of the affable, victimised gentleman, catering to her desire to critique the established gentry. Her wit, in this phase, is a shield that prevents deeper understanding, blinding her to the true performance of character that Darcy hides beneath his cold manners. Wiesenforth notes the novel’s structure as a "case" study in judgment, suggesting that Elizabeth’s initial critical zeal must be corrected to 3.2. Meryton, Netherfield, and the Critique of Affectation.

The social gatherings at Meryton and Netherfield provide the initial settings for Elizabeth’s critical performance. At Meryton, she is amused by the absurdity of her family and the local society. At Netherfield, she is placed in direct opposition to the higher, more polished society, particularly Miss Bingley. Her independence is highlighted in her walk across the muddy fields to tend to Jane a blatant disregard for the expected fastidiousness of a young lady. This act is admired by Darcy for its 'spirit' but scorned by Miss Bingley for its 'coarseness,' who exclaims: "To walk three miles, or four miles, or whatever it is, above her ankles in dirt, and alone, quite alone! what gumption! Such savage self-importance!"

Elizabeth's willingness to disregard conventional surface manners when they conflict with deeper moral impulses (like sisterly devotion) is a key aspect of her modern heroism. She understands that true value lies not in the performance of polished behaviour but in the consistency of ethical action. Her refusal to condemn Mr. Bingley's affection for Jane despite their social differences further establishes her moral compass as being internally, rather than externally, regulated.

4. Moral Reorientation: The Fallacy of First Impressions

The transition from a mere social critic to a morally mature woman is the core of Elizabeth’s journey and the central drama of the novel. Her progress is defined by the necessary destruction of her proud self-perception.

4.1. The Crisis of Prejudice: Darcy's Letter and Self-Recognition

The turning point is Darcy's letter, delivered after his disastrous first proposal. The letter serves not merely as a plot device but as a metatextual correction of Elizabeth's entire system of judgment. Upon reading his account of Wickham and his honest explanation of the Bingley-Jane separation, Elizabeth experiences a profound epiphany:

“How despicably have I acted!’ she cried; ‘I, who have prided myself on my discernment! I, who have valued myself on my abilities! ... Till this moment, I never knew myself.”.

This moment of self-recognition is the true climax of her development. It marks her shift from judgmental observer to humble participant in the human drama. Her intelligence, which had been her source of pride, now becomes the instrument of her own moral correction. This willingness to admit and correct a fundamental error in judgment elevates her beyond the purely witty heroine to a truly moral one. Her growth relies on dismantling the 'prejudice' that her 'pride' in her own perception had fostered.

4.2. The Expansion of Empathy at Pemberley

Elizabeth’s subsequent visit to Pemberley is crucial because it allows her to observe Darcy in a different, non-combative environment his home. This spatial change enables a psychological change. At Pemberley, she sees the admiration he commands from his servants and the genuine affection he shows his sister, Georgiana. This environment allows her to see Darcy as he is, stripped of the defensive arrogance he displays in London society.

The visit transforms her prejudice into a nascent empathy. The narrator notes her new perception of him: "There was now an interest, an cxiety, in what he said, which she had never witnessed before; and this simple freshness was a great relief to her." She begins to recognise the difference between Darcy’s perceived manners (which were cold and proud) and his actual morals (which are generous and responsible). This broadening of her understanding is a key facet of her growth; she learns that social manners are merely a superficial covering and that true judgment must penetrate the surface to assess ethical substance. The intimacy of the Pemberley setting acts as a necessary catalyst, allowing Elizabeth to observe the domestic morality of the gentry, proving that genuine worth is measured not by public presentation but by consistent, private benevolence. She moves from judging the performance to judging the performer's character.

5. Comparative Characterization: Setting the Modern Path

Austen strategically uses Elizabeth’s female counterparts Jane Bennet and Charlotte Lucas to illuminate the uniqueness and necessity of Elizabeth’s middle path to modern heroism.

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5.1. Jane Bennet: The Limitations of Ideal Goodness

Jane Bennet represents the ideal conventional heroine: beautiful, sweet-tempered, and consistently virtuous. She is, as Elizabeth notes, determined to see only the good in everyone: "You never see a fault in anybody. All the world are good and agreeable in your eyes. I never heard you speak ill of a human being in your life." While Jane’s purity is admirable, the novel shows that her lack of discernment and critical judgment makes her vulnerable to social manipulation and emotional paralysis. She cannot effectively navigate the complex social landscape because she lacks the critical 'edge' that Elizabeth possesses.

Jane’s goodness is ultimately passive virtue. She suffers disappointment quietly, relying on her sister to interpret and intervene on her behalf. Her eventual happiness with Bingley is largely secured through the emotional and critical intervention of others (first Elizabeth, then Darcy). In contrast, Elizabeth actively drives her own fate; she rejects the wrong matches and confronts her errors, establishing a model of self-determined happiness. The contrast demonstrates that true moral strength and success in the modern world require active, intellectual engagement, not mere passive virtue.

5.2. Charlotte Lucas: Pragmatism versus Modernity (Moe's Analysis)

Charlotte Lucas’s marriage to Mr. Collins serves as the definitive negative example against which Elizabeth’s heroic choice is measured. Charlotte chooses economic security and social acceptance over any expectation of love or intellectual companionship. Her decision, "I am not romantic, you know; I never was. I ask only for a comfortable home," is a starkly practical approach to life.

Melina Moe, in “Charlotte and Elizabeth: Multiple Modernities in Jane Austen’s ‘Pride and Prejudice,’” argues that Charlotte’s choice represents a form of modernity, but one based on pragmatic realism in the face of limited options, whereas Elizabeth represents a modernity rooted in intellectual idealism (Moe). Charlotte’s realism is a sobering commentary on the harsh economic realities facing women in the period. However, the novel ultimately presents Elizabeth’s choice holding out for intellectual parity and genuine affection as the superior moral and personal triumph. Charlotte sacrifices her internal emotional life for external stability; Elizabeth risks external stability for internal fulfillment. Elizabeth's success validates her risk and cements her position as a heroine who transcends mere survival to achieve flourishing.

6. Elizabeth's Triumph: The Integration of Individual and Society

Elizabeth’s moral growth culminates in her ability to integrate her independent mind with her social duties. She does not marry Darcy to escape poverty (like her mother desires) or purely for a comfortable establishment (like Charlotte); she marries him because she has learned to respect and love him, and he, in turn, has learned to love her independent mind and spirit.

6.1. Negotiating Class and Power (Anderson's Insight)

Elizabeth’s journey is also a sophisticated negotiation with the rigid class system, which is a key element of the novel's place as analyzed by Walter E. Anderson (Anderson). Darcy’s initial pride is inseparable from his class consciousness, and Elizabeth’s prejudice is fuelled by her resentment of that pride. Their reconciliation requires both to compromise: Darcy must shed his social arrogance and accept the "inferiority" of her connections, and Elizabeth must temper her democratic skepticism with a recognition of Darcy's intrinsic moral value and true generosity, independent of his lofty status.

Elizabeth ultimately gains entrance into the highest social circles, but on her own terms. Her marriage is an alliance between wealth and intelligence, rank and character. By successfully challenging Lady Catherine’s authority standing firm on her moral right to choose when Lady Catherine demands: "I am not to be trifled with. Tell me at once. Are you engaged to my nephew?" Elizabeth performs the final, climactic act of social defiance that ultimately secures her position. This confrontation is a crucial demonstration of her newfound moral authority over mere aristocratic status, serving as the ultimate social vindication of her independent spirit. She proves that personal merit is the true measure of fitness for the highest position. She integrates into the system not as a passive subordinate, but as an empowered partner.

6.2. The Modern Marriage: A Union of Mind and Morals

The marriage between Elizabeth and Darcy is a testament to the modern ideal a union based on shared moral principle and intellectual parity. Darcy is attracted to her "lively mind" and "playful disposition," attributes that were often discouraged in women of the period. Elizabeth’s love for Darcy grows out of respect for his corrected moral conduct and his genuine, if initially obscured, goodness.

Their relationship is a mutual acknowledgment of error and a commitment to perpetual self-improvement, symbolised by their shared amusement over past mistakes. Darcy tells her in their final conversation: "You tease me, foolish girl... I have been a selfish being all my life, in practice, though not in principle." This foundation of mutual respect, open communication, and intellectual sparring is what makes their union, and Elizabeth’s triumph, truly modern. They are united as equals who have helped each other grow, fulfilling the ideal of a companionate marriage rooted in character, a sharp contrast to the financial arrangements that dominate the lives of other characters.

7. Conclusion

Elizabeth Bennet’s status as a modern heroine is firmly rooted in her capacity for profound moral growth, enabled by her independent intellectual spirit and expressed through her engagement with the performance of social manners. Her journey is defined by a necessary shift from being a witty, external critic of society to becoming a humble, self-aware individual who recognises the complexity of both her own character and the characters of others. She learns that true judgment demands not only sharp perception but also the humility to correct one's own 'pride' and 'prejudice.'

By achieving a marriage that respects both her intellectual needs and her moral compass, Elizabeth demonstrates that an enlightened individual can successfully navigate and even reform the traditional social structure. Austen uses Elizabeth's successful integration secured through self-knowledge, not radical rejection to champion a new, enduring model of female heroism: one where wit and independence serve as foundations for moral discernment and authentic happiness. Her legacy lies in proving that a lively mind and strong moral character are the most valuable assets a heroine can possess.

For a more detailed explanation of the ideas discussed in this blog, refer to the video below

Elizabeth Bennet: A Modern Heroine in a Regency World | Pride and Prejudice Character Analysis

References

• Anderson, Walter E. “Plot, Character, Speech, and Place in Pride and Prejudice.” Nineteenth-Century Fiction, vol. 30, no. 3, 1975, pp. 367–82. JSTOR, https://www.jstor.org/stable/2933075 Accessed 4 Nov. 2025.

• Jane, Austen. Pride and prejudice. Jane Austen, 1998. Project Gutenberg, https://www.gutenberg.org/cache/epub/1342/pg1342-images.html. Accessed 4 Nov 2025. 

• MOE, MELINA. “CHARLOTTE AND ELIZABETH: MULTIPLE MODERNITIES IN JANE AUSTEN’S ‘PRIDE AND PREJUDICE.’” ELH, vol. 83, no. 4, 2016, pp. 1075–103. JSTOR, http://www.jstor.org/stable/26173905   Accessed 4 Nov. 2025.

• Morgan, Susan. “Intelligence in ‘Pride and Prejudice.’” Modern Philology, vol. 73, no. 1, 1975, pp. 54–68. JSTOR, http://www.jstor.org/stable/436104 Accessed 4 Nov. 2025.

• Newton, Judith Lowder. “‘Pride and Prejudice’: Power, Fantasy, and Subversion in Jane Austen.” Feminist Studies, vol. 4, no. 1, 1978, pp. 27–42. JSTOR,  https://www.jstor.org/stable/3177624 Accessed 4 Nov. 2025.

• WIESENFARTH, JOSEPH. “THE CASE OF ‘PRIDE AND PREJUDICE.’” Studies in the Novel, vol. 16, no. 3, 1984, pp. 261–73. JSTOR, http://www.jstor.org/stable/29532288.  Accessed 4 Nov. 2025.

Thank you!