The Seductive Personalities of Pride & Prejudice Characters

What does Austen say but not say about her beloved characters? In such a suppressed society, how do they discretely or not discretely act out their attitudes when it comes to liked people of the desired sex? The following analyses make use of Robert Greene's [2003] dissertation on seduction as an art. It must also be noted that the traits of the characters are based on the original novel, not the Wild & Wanton edition. 

Jane Bennet. The eldest of the five Bennet sisters, recognized throughout all editions diligent to the canonical structure as the “true beauty”.  She is known for her softness and quiet attitude; as a consequence she never invokes her agency. It is this trait which makes her the favorite of her mother who believes that it is this characteristic which makes Jane supposedly a more popular personality in the Hertfordshire area.

            Her strong sense of innocence is insisted all throughout the storyline, and this qualifies her as being a combination of The Natural and The Charismatic, excluding the aspect of possessing skills of manipulation. As a Natural, she is inclined to be child-like and this is evident in her having a good opinion of people in general. The radiance in her brings about her a great and sweet charm which lacks in her other sisters. She “never sees fault”, and “All the world is good and agreeable” in her eyes [Austen 1813: 19].   

           Elizabeth Bennet. The fact that she could attract the attention of the ultimate eligible bachelor in England automatically makes her predominantly a Siren. She exemplifies the balanced siren who has a heightened sexual allure mixed with a regal and theatrical manner [Greene 2003: 09]. This specific archetype is inspired by the goddess Aphrodite who represents the male fantasy of a sexual, supremely confident and alluring female who offers the promise of endless pleasure and a bit of danger [Greene 2003: 11]. Elizabeth stands for nonconformity, and this is one of the greatest dangers during her time. It was this same attitude that enabled her to distinguish herself from other women. She stood out as the ultimate siren for Darcy because unlike Caroline, she did not throw herself at him nor seek his approval. She did not eye his assets, nor did she treat him as someone superior --- as has been the practice of other females who had good knowledge of his prestige and background. Elizabeth was a challenge. 

            Aside from the liveliness of her mind [Austen 1813: 580], she is identified by her eyes which their dark dues were beautifully expressed [Austen 1813: 32]. Elizabeth has a certain gaze which was alluring for Darcy.  

         Mary Bennet. The majority of the years of her life she dedicates in vain to constant practice at the piano as well as much attention to her collection of extracts [Austen 1813: 89-90]. She places the pressures of society upon herself, her common mantra that she must be a proficient. Since she is the only one amongst her sisters who has been said to be plain, she takes this as a catalyst to attempt to succeed. She is known to embarrass herself by forcing her performances at public balls [Austen 1813: 153].

            Mary is what Robert Greene [2012] would call the Anti-Seducer. They are opposite the seducer in the sense that they are insecure, self-absorbed, and unable to grasp the psychology of another person. As a result, they literally repel [Greene 2012: 131]. They have no self-awareness and never realize when they are pestering, imposing, or talking too much. They lack the subtlety to create the promise of pleasure that seduction requires [ibid].

Lydia Bennet. She is fifteen years old [Austen 1813: 66] and still girlish in almost every way. Excessively carefree, officers are attracted to this [ibid]; but this does not suffice as a seduction tactic. Lydia Bennet though flirtatious, still lacks  the amount of experience in order to be profiled in accordance to the Greene theoretical framework.

Lt. George Wickham. To an extent, it may be said that Wickham’s seductive personality is the Rake. He is disloyal, dishonest, and amoral. He is unrestrained, a slave to his love of women. The added lure to his reputation is that so many women have succumbed to him and the reason is not known. He utilizes words as he knows that the proper combination of these is the weakness of females. He is therefore a master of seductive language [Greene 2003: 17].

Wickham is like the Ardent Rake in the sense that he uses planning and calculation, as well as an uncontrollable libido [Greene 2003: 21] to serve his motives while attempting to be discrete. When he pursues a woman, he is truly aglow with desire, and he knows how intense desire has a distracting power on a woman. He uses the knowledge that if a woman feels consumed by a man’s attention, she will feel confident that the man will do anything for her. This will then divert her from thinking nothing else about him or encourage her to find a way to forgive his indiscretions [Greene 2003: 21].

            This is of course one big cover.

            Georgiana Darcy was attracted to him because she was seduced by his words [Austen 1813: 306]; Wickham was seduced by her dowry of thirty-thousand pounds [Austen 1813: 306]. Lydia Bennet’s panties dropped at the promise of what “Wickham the Rake” offers which society normally does not allow women to have, especially during that time: an affair of pure pleasure and an exciting brush with danger [Greene 2003: 24].  Wickham appealed to Lydia because a woman is often deeply oppressed by the role she is expected to play --- as she is supposed to be the tender, civilizing force in society, and to want commitment and lifelong loyalty [ibid]. But then of course Lydia is of course recognized by readers to be the unruly slut of Longbourn who preferred officers [Austen 1813: 352].

            Although becoming married to Lydia, Lydia will find herself experiencing a relationship based on routine as Wickham as Rake will always be a distracted mate. He would never give her totally of himself [Greene 2003: 24]. It will also be expected that he would be cruel to his wife and indulge in taboo sex. Knowing Lydia, she probably wouldn’t mind an occasional BDSM, as it would enable some freedom of her repressed side [Greene 2003: 25]. With the Rake as the image of the “untamed”, Lydia may like the idea of a wild Wickham. 

            Wickham has had a history of attempting to seduce Elizabeth. As to whether or not it was a wise move, readers wouldn’t know for sure. This bold move may be due to his not

knowing Elizabeth enough to know that his tactics wouldn’t work. But then again, the Rake never worries about a woman’s resistance to him, or for that matter about any other obstacle in his path. Resistance is only the spur to his desire, enflaming him all the more [Greene 2003: 25].   

            William Collins. Deviating from Robert Greene [2003], I provide my own archetype. Collins’ seductive image is ‘The Politican’. I speak as a true-blooded Political Anthropologist when I say that I also disagree with the image of seduction as leading or having purely to do with sex. The art has begun to be adapted for social purposes. Only recently do we recognize that seduction is an effect of charisma, and this is the ability of a true Statesman. A Statesman has power exceeding that of his or her competitors if he or she has rhetorical flair at the same time employing theatrical devices. All of this is compared to that of the skill of the Politician, of which he has none (perhaps bread and circus). What grants politicians their notoriety is their compulsive lying or consistent play of words which either offend or excessively praise to the point of ridiculousness. Politicans are known for what I personally like to call ‘Blossom Rhetoric’. This pertains to  political correctness gone to the point of absurdity, combined with ‘weasel wording’ [Cathcart & Klein: 2008] and doublespeak; this is a body of words that are sweetly perfumed that they are met with approval by the untrained ear. A state of awe is the effect of the accumulation of immense power without the usage of force.

            Though Collins is a member of the clergy, he is truly a Politician. There are numerous occasions where he has illustrated lack of propriety [Austen 1813: 147] as well as put his foot often in his mouth.

            Aside from being able to discuss many matters with those whom he converses with at any social event, he sees to it that he is able to pay compliments and exercise his blossom rhetoric [Austen 1813: 102] at every opportunity.  What is amusing about it is his confidence in it that they appear unrehearsed. 

Caroline Bingley. In an adaptation of Greene’s [2003] terms, she would be the sort of female who would classify as a Siren wannabe. She aspires to be Darcy’s ultimate fantasy figure. She is known to fail in making her presence established when with Darcy, which is required by Siren standard to be always heightened and sexually charged [Greene 2003: 07]. She may have culture and adhere to etiquette; she has been portrayed to have a fine body. However, what lacks in Caroline that is inherent in being a true Siren is the theatrical streak. Caroline has no unique character and is in this criteria considerably plain.

Unlike Elizabeth, she cannot provide the intellectual pleasure that Darcy yearned for. On occasions, she has feigned enthusiasm towards intellectual activities such as the useful occupation of reading [Austen 1813: 80]. She fails to provide even the illusion that she is capable of providing variety and adventure [Greene 2003: 09]. Either this, or Darcy is just exceptionally smart.

Caroline’s definition of the accomplished woman which includes the manner of speaking in terms of the tone of voice and address and expressions  [Austen 1813: 56] is a statement said like a true Siren. Sirens are known to have two voices. The Lolita-ish version is considered attractive because it is like that of a little girl’s. The incorporation of lower, deep, breathy tones makes it seductive; a mix of the little girl and the vixen [Greene 2003: 10]. It is known that innocence excites a man [Greene 2003: 11]. And it is this same innocence which is played on frequently with Caroline when she gives Darcy much adulation and whenever she seeks his opinion on even the most trivial of details. Though the tone of Caroline’s voice may be debated, it may be theorized that there may have been a time she had attempted to play with her register to attract Darcy’s attention.

She wanted to capture Darcy using this Lolita-ish effect. She saw Darcy as this very masculine and powerful man and this was her foundation for portraying herself as the little girl whose deepest need is to feel loved and desired, craving protection [Greene 2003: 11]. And this type of relationship usually works because it is perversely satisfying in that it gives the male the critical illusion that he is a protector, the father figure; although it is actually the Sex Siren who controls the dynamic [ibid].

But as for her --- Caroline Bingley has constantly attempted to operate on Darcy’s most basic emotions but frequently failed.

It has been said: that the intellectual is often the one most susceptible to the Siren call of pure physical pleasure because his life so lacks it [Greene 2003: 12]--- this case is not valid with Darcy because his fascination with Elizabeth satisfies both intellectual and physical cravings.

Physical qualities are the Siren’s main instrument of power. Heightened femininity through elaborate or seductive clothing are known to act all the more powerfully on men [Greene 2003: 13].  Caroline Bingley is portrayed to have an attractive figure, of which she displays best by walking [Austen 1813: 82]. The Siren moves gracefully and unhurriedly. Bingley’s mastery of etiquette involves knowledge and proper practice of gestures, movement, and demeanor. These become an alternative to the Siren’s spoken voice which hints at the exciting, and stirring desire without being obvious [Greene 2003: 15].

As for Caroline’s comment as regards the ‘air and manner of walking’ [Austen 1813: 56], the definition of the woman’s air in terms of seduction is the requirement for it to be languorous, implying leisure for love and pleasure. The air should suggest innocence and eroticism combined. And anything that cannot be immediately understood is supremely seductive and all the more so if it permeates the woman’s manner [Greene 2003: 15].

Unfortunately, it is implied that body and grace is all Caroline Bingley has to work with. The Siren effect depends on an overall impression, as past a certain age that impression becomes difficult to project [Greene 2003: 16]. Her option then would be to seduce with nonphysical charms, but this requires genius skill [Greene 2003: 16], of which she has almost none.

Charles Bingley. Rich, adorable, and available. Bingley was able to get the attention of Jane because he is everything that a girl could ever want [Austen 1813: 18]. To Jane, he is the Ideal Lover [Greene 2003: 29], and this is based on the experience she had with a previous suitor who wrote her some very daring poetry [Austen 1813: 64] as well as other men whom she would have settled for but were too ridiculous to be seriously selected [Austen 1813: 18].

Ideal Lovers thrive on people’s broken dreams which become lifelong fantasies. Charles promises adventure as well as the oath to be a lofty spiritual companion [Greene 2003: 29]. He embodies a Jungian archetype, the dream of the chivalrous knight [Greene 2003: 37]. Charles would go through the trial of social scrutiny in his choice of Jane considering her background just to prove the sincerity of his love for her. The key to this archetype is a sense of absolute devotion [ibid] of which Charles Bingley tremendously has for Jane. As stated in Greene [ibid], Bingley is a man who did not let matters of money or glory intrude into the fantasy and action of his courtship of Jane.

 Fitzwilliam Darcy. Predominantly egotistic at first impression, but very passionate and private. What is seductive about him is predominantly his assets. His entrance is usually characterized by a buzz about the people (within a ballroom) who speak of his amiability based on three aspects: his attractive features, his large fortune as the next priority, and lastly his status as available [Austen 1813: 12].  But Darcy is also known to have a character-based X-factor where he is able to radiate some quality that attracts people and stirs their emotions in a way that is beyond their control [Greene 2003: 03]. He is able to carry himself in a very dignified and composed form.     

References:

Greene, Robert, The Art of Seduction, New York: Penguin Books, 2003.

Austen, Jane, Pride & Prejudice. Planet E-book Text version, 1813.