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Pride and Prejudice and Emma . The Variety andFunction of Irony in Austen's Novels.

Austen's purpose is to illustrate the mores of early nineteenth century

society in all its aspects and, to accomplish this, she uses the ironicform. This ironic form may be isolated into three distinct types, structuralirony, verbal irony and dramatic irony. Her works are replete withexamples of each category and show her absolute command of theironic mode.

Structural irony is a form whereby the work contains an element whichdivorces the overt representations in the text from their intrinsicmeaning. The structure of Pride and Prejudice depends upon the truthuniversally acknowledged that a bachelor must be in want of a wife.

The tone of the assertion and the use of the word must imply an ironicreversal and in reality mothers of daughters are in need of a single manin possession of a good fortune. The presumption of the alleged truthprovides the justification for Mrs Bennet and others to progress tooutrageous lengths to present their offspring to any eligible bachelor who appears in the vicinity. This inherent assumption brings out thehumour in Mrs Bennet's gratification over Jane's sudden illness when atMr Bingley's and her outrage when Elizabeth refuses the unsuitable Mr Collins. However, this ironic reversal is inverted again for Mr Collins ispersuaded by Lady Catherine that he does indeed need a wife. Beingconvinced of the hypothesis, he endeavours assiduously to providehimself with a spouse, taking a second choice when the first fails himand dispensing with a diligent evaluation of prospective candidates.Darcy presumes that it is the woman who requires a spouse andpresents himself as Elizabeth's suitor in the insouciant expectation of aprompt acceptance. As Darcy and Elizabeth's relationship oscillates,due to the inbuilt eponymous vices of pride and prejudice, the reader perceives further irony in being unsure in which direction the ironicstructure is directed.

Emma is structured upon the advantaged heroine who only seemed topossess the best blessings in existence. This caveat is augmented bythe real evils of wilfulness and egotism which are understated by theauthor in the words rather too much and a little too well. It is further reinforced when Austen declares that Emma's faults are unperceived byall except Mr Knightley who was one of the few people who could seethe faults in Emma Woodhouse. The real pointer to the sense of

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foreboding is the oxymoron a gentle sorrow by which marriageremoves her closest companion. This, combined with Mr Woodhouse'santipathy towards marriage, leads Emma to suppose that marriage is for other people. The poignancy of Emma's outburst at Mr Elton's proposalstems from her failing to imagine herself as a prospective bride. Thehumour of the situation lies in her encouragement of his advancesunder the notion that they are directed to her protg, Harriet. Similarlythe mayhem resulting from her other attempts at matchmaking derivefrom the underlying contradictions in her psychological construction.

Verbal irony may be defined as a statement with an inherent meaningwhich differs fundamentally from its ostensible content. Austen uses thisform to build up a character with an economy of words. Mr Woodhouse's social activity is extolled by the weakness of the positivestatements on the type of company he keeps. He can command visitsbut only of his little circle and his intercourse with families beyond thatcircle was not much. He dines with the chosen and best but this isnot unfrequently and only through Emma's persuasion and there wasscarcely an evening in the week, unless he fancied himself .... unequalto the company that Mr Woodhouse did not stay at home and playcards. From these pithy statements the reader may deduce that 'Mr Woodhouse was fond of society in his own way means that Mr Woodhouse was not fond of society in any way shape or form.

Austen is particularly adept at elaboration by omission. As Harriet is thedaughter of somebody the reader infers that she is the daughter of nobody. Emma's character is evolved by a note of her ability in makinglists (very good lists they were too) leaving the reader to assume thatthe agenda was unfulfilled. Mr Collins introduces himself to the novel inepistolary form. He does indeed flatter himself' that his overtures of goodwill are highly commendable by his self laudatory style. Hisposition is fortunate, his patronage is distinguished and his rectoryvaluable. As he begs leave to apologise for an event which is beyondhis control, the paucity of affability leads the reader to suspect the

reliability of the proffered olive branch and the readiness to make themevery possible amends. The sinister undertones in the character'sconstruction enable Austen to reveal a depth of personality which wouldotherwise remain hidden.

Austen's study of human relationships is suffused with the ironiccomments of the participants. As Emma had no right to expect much of

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Robert Martin and indeed did not expect much her disappointment onmeeting him becomes more profound. Mr Knightley's comments onEmma's talents for prediction are declared in the disingenuous I do notpretend to Emma's genius for foretelling and guessing. Emma's adviceto Harriet not for the world .... would I advise you either way', is taken atface value by the recipient but discloses to the reader that a specificdirection is in her mind. Mr and Mrs Bennet's uneasy relationshipsubsists on a crossfire of sarcasm from the former and banality from thelatter. When Mr Bennet advises his wife to take comfort from the factthat she will not be destitute if he is the one who survives, the overtplatitude, as intended, harasses the victim. But Austen takes thisinterchange to a further level when Mrs Bennet denounces her husbandsaying you take delight in vexing me. The comment intended assarcasm fails to achieve the desired effect as the statement is indeedtrue. This is a triple ironic inversion, an intended ironic statement isironic in that it is not ironic.

The constant use of verbal irony has its problems but Austen deals withthem in an adroit manner. The ironic tone in the authorial voice can beseen in the description of Mrs Elton's opinion of Highbury society. MrsElton is a little shocked at the want of two drawing rooms, at the poor attempt at rout-cakes and there being no ice. The mildness of her disdain adds poignancy to the pleasure she evidently expresses in her thought she would soon show them how everything ought to be

arranged. [author's italics]. This section is evidently to be taken asironic. However, when Austen describes Mrs Bennet's vocation 'thebusiness of her life was to get her daughters married; its solace wasvisiting and news', there is no elaborate sentence structure. Theabsence of adjectives and adverbs and the sharpness of the single finiteverb structure are to be interpreted as a command to take the passageat its superficial meaning. Everything Mr Bennet says is intensely ironicand with such a constant character, little depth of feeling can beadequately expressed in his own voice. When his anger at Wickharn'sseduction of his daughter is told, the narrator's voice must take over.

Austen herself must tell the reader that he refuses to allow the coupleinto the house or to defray the nuptial expenses. If Mr Bennet were tospeak in his own voice, the reader would seek for a disingenuousinterpretation and believe the opposite to be the case as when he doesresume his own voice and says that Wickham is his favourite son-in-law.

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Dramatic irony consists of a situation whereby the reader participateswith the author in a knowledge of events which have not been disclosedto the character. Austen augments this form of irony by concealing factsfrom the reader, thereby building up a false anticipation which isabruptly thwarted for the sake of dramatic interest. The reader of Prideand Prejudice knows that Darcy has amorous feelings towardsElizabeth and that these feelings are not reciprocated and also isinformed that neither character is aware of the other's feelings. WhenDarcy's proposal is rejected by Elizabeth, the reader is gratified byforeknowledge of the inevitable reply. This is dramatic irony in its simpleform. However when Emma plans for Harriet to be paired with FrankChurchill, the reader along with Emma is unaware that Harriet all thewhile has had her thoughts on Mr Knightley. The humour of therevelations is thereby enlarged and the reader made more sympatheticwith Emma, not condemning her too harshly. Similarly Elizabeth'srejection of Darcy is based partly on the false report of Wickham whosegood report, based on the hearsay of the villagers, she shares with thereader. Accordingly, Elizabeth's predicament when she becomesacquainted with the facts attracts the sympathy of the reader.

The distinct types of irony do not perform separate functions. Theyinteract with one another at the various stages of the novels to createhumour, pathos, sympathy and understanding. It is Austen's mastery of the application of irony which makes her work outstanding.