An Image of Truth

An Image of Truth

Plato teaches that reality is to be found in universal “forms.” Images of objects are therefore pale imitations of reality: that is, at least twice removed from the truth. Nevertheless, Jane Austen in Pride and Prejudice suggests that the image of a person can offer true insights that the actual person might not. In her very first meeting with Mr. Darcy, Elizabeth is left “with no very cordial feelings towards him” and after spending “four days in the same house with him” she still “think[s] him very disagreeable” (9, 53).1 Even after Mr. Darcy has directly and blatantly declared his love for Elizabeth she cannot consider him favorably and exclaims “I have never desired your good opinion” (125). Just to walk with him in the park “seem[s] like willful ill‑nature or a voluntary penance” (120). However, Elizabeth’s feelings for Darcy change after she views the portrait of him at Pemberley. She develops a “more gentle sensation toward the original” after seeing the painting and may even consider Darcy’s “regard with a deeper sentiment of gratitude than it had ever raised before” (162). Elizabeth needs the indirect image of Darcy in this portrait to view the man himself more accurately than she can when she faces him in person. The painting offers her time to contemplate Darcy’s true character. Furthermore, the frozen image creates a distance from which Elizabeth may consider Darcy without the interference of her intense emotions.

When Elizabeth is face to face with Darcy, she must engage him in conversation, but when she examines the portrait, she does not have to speak: she can look at the painting for “several moments…in earnest contemplation” and even “return to it again” before leaving (162). Socially, great importance is placed on witty dialogue and polite conversation. At the first ball, the newly arrived Mr. Darcy is criticized for his reserve; rather than extend himself to form new acquaintances, he speaks only “occasionally to [a lady] of his own party” (8). Yet by refraining from conventional conversation, Mr. Darcy is able to form sound opinions. When he “wish[es] to know more of [Elizabeth]” he first “attend[s] to her conversations with others” before directly engaging her in dialogue (17). He even advises Elizabeth to take her time in getting to know him, urging “I could wish, Miss Bennet, that you were not to sketch my character at the present moment…the performance would reflect no credit on either.