1. Narrative Modes

2. AO2 Authorial Voice Often ironic, this differs from the narrative voice in being usually reflective and addressed directly to the reader. The authorial voice sets the tone of the novel. The authorial voice is obtrusive and it is, at times. Difficult to distinguish between the authorial voice and that of the narrator and Elizabeth. Use the modes booklet to find examples of authorial voice that you can refer to in timed writing

3. AO2 Objective Narrative The is the voice used to set the scene, explain circumstances and introduce characters. However, Austen also inserts opinions of characters into this objective mode – she slides swiftly between objective narrative and authorial voice. Austen often replaces speech with objective narrative often to compress the dialogue and to summarise events. Read the modes booklet to find examples of Austen’s use of objective narrative.

4. AO2 Coloured Narrative Austen uses this method more than objective narrative through the character of Elizabeth. Narrative delivered directly by Elizabeth creates dramatic effect because it allows the reader to see how easily it was for her to be ‘misled’ – reader is ‘deceived’ in the same way that Elizabeth is. We empathise with Elizabeth as a main character – the amalgam of narrator and heroine increases this empathy. Coloured narrative can also convey collective thoughts “the proudest most disagreeable man in the world” – this also links with the free indirect discourse mode as it captures the expression of Mrs Bennet and the tone of the gossip.

5. AO2 Character voice (read the modes booklet for definitions and examples) Written speech Incorporated speech Speech within speech Free in direct speech

6. Humour, satire and wit Comic devices used by Austen Caricature Witticisms Epigrams Situational comedy (to generate amusement and misunderstanding) Bathetic juxtapositions (arrival of Lady Catherine compared to a pig getting into a garden) Ironic viewpoint of Elizabeth

7. Humour, satire and wit Satire Irony draws attention to folly but satire goes further in being a deliberate scathing attack with the aim of exposing to ridicule and contempt a type or an institution, and pointing out the damage they cause others. Targets of the novel’s satire are the clergy (Mr Collins); the aristocracy (Lady Catherine); social climbers (Sir William Lucas); irrational mothers (Mrs Bennet). Jane and Bingley are mocked for their naivety, but not enough for it to earn the reader’s contempt.