Chapter 6 — Teaching Companion

What it asks It asks the student to set two of Elizabeth’s accounts of Jane side by side. In the opening paragraph, “to _her_ it was equally evident that Jane was yielding to the preference which she had begun to entertain for him from the first, and was in a way to be very much in love”. In the debate, answering Charlotte’s advice that Jane should “make the most of every half hour”, she says: “But these are not Jane’s feelings; she is not acting by design. As yet she cannot even be certain of the degree of her own regard, nor of its reasonableness. She has known him only a fortnight.” The student decides which account Elizabeth holds, or how she can hold both. The card must not ask whether Jane’s composure protects or endangers her, which is the last question’s work, and must not make Elizabeth simply right.

One reading

The first; the second is for the argument. Charlotte has just offered a plan for winning Bingley, and Elizabeth answers that Jane “is not acting by design”. A girl not yet sure of her own feeling cannot be scheming, so Elizabeth makes Jane’s love smaller and newer than she privately thinks it. She is defending her sister, and in an argument you choose the facts that win.

• she is not acting by design.
• Your plan is a good one,

Another reading

Both, and the gap between them is her own claim to see. Jane is falling in love before she knows it herself: she “cannot even be certain” of her regard, but Elizabeth can. The narrator puts the stress on her: “to _her_ it was equally evident”. The same confidence speaks when she says Bingley must see what she sees. She is sure she reads her sister’s heart better than her sister does.

• to her it was equally evident
• If I can perceive her regard for him,

Listen for

• Notices who hears each account: the first is Elizabeth’s private view, the second is said to Charlotte in the middle of an argument.
• Hears “not acting by design”: Elizabeth answers Charlotte’s plan by making Jane innocent of one.
• Notices that Charlotte turns Elizabeth’s count of meetings back on her: “four evenings may do a great deal”.
• Asks whether a person can be falling in love and not yet know it, and whether a sister could see it first.

If stuck

• What does Elizabeth see in Jane at the start of the chapter?
• What does she tell Charlotte about Jane’s feelings?
• Can you see a feeling in someone before they are sure of it themselves?

A strong answer A strong response decides which account Elizabeth believes, or how she holds both, and argues from the opening paragraph and the debate. One reader says she believes the first and argues the second: Charlotte has proposed a plan, and Elizabeth’s answer that Jane “is not acting by design” needs a Jane not yet sure of her feeling. Another says she believes both: Jane is falling in love before she knows it, and Elizabeth is sure she sees it first, the confidence of “If _I_ can perceive”. The best answers notice who each account is spoken to, and leave the weighing of Jane’s calm to the last question.

What it asks It asks the student to weigh the end of the debate. Charlotte says: “Happiness in marriage is entirely a matter of chance. If the dispositions of the parties are ever so well known to each other, or ever so similar beforehand, it does not advance their felicity in the least. They always continue to grow sufficiently unlike afterwards to have their share of vexation; and it is better to know as little as possible of the defects of the person with whom you are to pass your life.” Elizabeth answers: “You make me laugh, Charlotte; but it is not sound. You know it is not sound, and that you would never act in this way yourself.” Charlotte does not reply; the narrator turns at once to Darcy. The student explains what Elizabeth’s certainty rests on. The card must not suggest that Charlotte will act on her own advice, since nothing in this chapter shows her choosing for herself, and must not treat Charlotte as merely cynical.

One reading

Her friendship. Elizabeth knows Charlotte, and she hears the speech as wit: “You make me laugh”. Charlotte has just said she wishes Jane success “with all my heart”. A friend who speaks that warmly and then argues for marrying in the dark is trying out an idea, and Elizabeth answers the friend she knows rather than the idea.

• You make me laugh, Charlotte; but it is not sound.
• I wish Jane success with all my heart;

Another reading

Her own wish, more than anything on the page. Charlotte gives reasons, not jokes: there is “so much of gratitude or vanity in almost every attachment”, and couples “always continue to grow sufficiently unlike afterwards”. Elizabeth never meets those reasons. She tells Charlotte what Charlotte knows, and her proof is only her belief about her friend. The next paragraph shows how much Elizabeth can miss in the people near her.

• They always continue to grow sufficiently unlike afterwards to have their share of vexation;
• You know it is not sound, and that you would never act in this way yourself.

Listen for

• Notices that Charlotte does not answer; the narrator turns straight to Darcy.
• Hears “You know it is not sound”: Elizabeth tells Charlotte what Charlotte thinks.
• Weighs Charlotte’s reasons (“gratitude or vanity”, “vexation”) as real arguments rather than jokes.
• Notices that Elizabeth’s reply praises Charlotte while it dismisses her view.

If stuck

• What does Charlotte say about happiness in marriage?
• How does Elizabeth answer her?
• How well can you know what a friend would do in a case she has never faced?

A strong answer A strong response names what Elizabeth’s certainty rests on and argues from the end of the debate. One reader says it rests on friendship: Elizabeth hears wit (“You make me laugh”) from a friend who has just wished Jane success “with all my heart”, and answers the friend rather than the idea. Another says it rests on her own wish: Charlotte has given reasons, from “gratitude or vanity” to growing “sufficiently unlike afterwards”, and Elizabeth answers none of them, only tells Charlotte what Charlotte knows. The best answers notice that Charlotte stays silent, and make no claim about what she will do.

What it asks It asks the student to read the narrator’s account of Darcy’s change of mind. “Mr. Darcy had at first scarcely allowed her to be pretty”; he had looked at her “only to criticise”. “But no sooner had he made it clear to himself and his friends that she had hardly a good feature in her face, than he began to find it was rendered uncommonly intelligent by the beautiful expression of her dark eyes. To this discovery succeeded some others equally mortifying.” He is “forced to acknowledge her figure to be light and pleasing”, and “in spite of his asserting that her manners were not those of the fashionable world, he was caught by their easy playfulness.” The student explains why these discoveries hurt his pride. The card must not say that Darcy is in love or means to propose; the chapter shows interest and admiration, no more.

One reading

Because he had said the opposite out loud. He had made it clear “to himself and his friends” that she had “hardly a good feature”. Each discovery takes back a verdict given in front of others. What is humbled is his judgment, and a man who looks “with a critical eye” takes pride in his judgment.

• But no sooner had he made it clear to himself and his friends that she had hardly a good feature in her face,
• Though he had detected with a critical eye

Another reading

Because of where she comes from. Her manners are “not those of the fashionable world”, and the rest of the evening shows how little he thinks of her company: “every savage can dance”. To be “caught” by a girl from that world is to be drawn toward what he looks down on. The verbs “forced” and “caught” make it something done to him, against his will.

• in spite of his asserting that her manners were not those of the fashionable world, he was caught by their easy playfulness.
• he was forced to acknowledge her figure to be light and pleasing;

Listen for

• Hears “to himself and his friends”: the first verdict was public.
• Notices the passive verbs “was forced” and “was caught”.
• Notices that the verdict and its undoing share one sentence, held together by “no sooner” and “than”.
• Notices that “mortifying” is the narrator’s word for Darcy’s feeling, and that he tells no one yet.

If stuck

• What did Darcy first think of Elizabeth’s looks?
• What does he begin to notice instead?
• Is it harder to change your mind when you have already told people what you think?

A strong answer A strong response gives a reason the discoveries hurt Darcy’s pride and works from the narrator’s paragraph. One reader says his judgment is what suffers: he had made his verdict “clear to himself and his friends”, so each discovery takes back something said aloud by a man who prides himself on “a critical eye”. Another says it is her world: he is “caught” by manners “not those of the fashionable world”, and the evening shows his contempt for that company (“every savage can dance”). The best answers hear “forced” and “caught”, and claim interest for Darcy, not love.

What it asks It asks the student to read Elizabeth’s plan for Darcy. The narrator has said that “He began to wish to know more of her; and, as a step towards conversing with her himself, attended to her conversation with others. His doing so drew her notice.” At Sir William’s she asks Charlotte, “What does Mr. Darcy mean ... by listening to my conversation with Colonel Forster?” Charlotte answers, “That is a question which Mr. Darcy only can answer.” Elizabeth: “But if he does it any more, I shall certainly let him know that I see what he is about. He has a very satirical eye, and if I do not begin by being impertinent myself, I shall soon grow afraid of him.” The student explains what she fears. The card must not give Elizabeth any feeling for Darcy beyond what she says, and must not say that Darcy is in love.

One reading

His judgment. She calls it “a very satirical eye”: to her he watches to find fault. This is the man who did not think her “handsome enough to dance with”, and now he is listening to her talk. Being laughed at in silence by such a man is the danger, and striking first is how she keeps her footing.

• He has a very satirical eye,
• and who had not thought her handsome enough to dance with.

Another reading

Shrinking under his watching. The phrase “grow afraid” is slow: she fears not one cutting remark but a habit of minding him. Impertinence is a guard; she would rather be seen to tease than be seen to care what he thinks. The reader knows what she cannot, that he listens out of interest, so the guard is raised against the wrong danger.

• I shall soon grow afraid of him.
• and, as a step towards conversing with her himself, attended to her conversation with others.

Listen for

• Notices that she reads his listening as criticism, while the narrator has called it “a step towards conversing with her”.
• Hears “begin by being impertinent”: she plans her manner before he has said a word.
• Hears “impertinent” again: Jane’s calm guards her from “the impertinent”, and Elizabeth’s guard is to be impertinent first.
• Notices that a moment later she does tease him, and he answers “With great energy”.

If stuck

• What is Darcy doing that Elizabeth notices?
• What does she say she will do about it?
• Why might someone tease a person they are a little afraid of?

A strong answer A strong response names what Elizabeth fears and argues from her words to Charlotte and the narrator’s account just before. One reader says she fears his judgment: “a very satirical eye” belongs to the man who thought her not “handsome enough to dance with”, and striking first keeps her from being laughed at in silence. Another hears the slow “grow afraid” as a fear of minding him, and treats impertinence as a guard against caring what he thinks. The best answers notice that the reader knows why he listens and she does not, and give her no feeling beyond what she says.

What it asks It asks the student to read the narrator on Mary. After “a song or two”, Elizabeth is “eagerly succeeded at the instrument by her sister Mary, who having, in consequence of being the only plain one in the family, worked hard for knowledge and accomplishments, was always impatient for display.” “Mary had neither genius nor taste; and though vanity had given her application, it had given her likewise a pedantic air and conceited manner, which would have injured a higher degree of excellence than she had reached. Elizabeth, easy and unaffected, had been listened to with much more pleasure, though not playing half so well; and Mary, at the end of a long concerto, was glad to purchase praise and gratitude by Scotch and Irish airs, at the request of her younger sisters”. The student judges whether the narrator is fair to Mary. The card must not skip the dancing that follows, which Darcy watches “in silent indignation”, and must not ask whether Jane’s composure protects or endangers her, which is the last question’s work.

One reading

Fair. The narrator does not blame Mary for her looks or for her work. The fault is what vanity added: “a pedantic air and conceited manner”, which would spoil even better playing. The room agrees. Elizabeth, “easy and unaffected”, is heard “with much more pleasure, though not playing half so well”. Mary is the one person in the chapter who puts everything on show, and showing does not win her what she wants.

• it had given her likewise a pedantic air and conceited manner,
• Elizabeth, easy and unaffected, had been listened to with much more pleasure, though not playing half so well;

Another reading

Not quite. The narrator gives Mary a reason and then holds it against her. She is plain in a family where looks win notice, so she works for what her sisters are given. The word “vanity” is the narrator’s reading of her heart, made from outside. And she does give the room what it wants: she plays dance tunes for her sisters, “glad to purchase praise and gratitude”. Elizabeth may joke about her own vanity and still be called “unaffected”; Mary is not allowed the joke.

• in consequence of being the only plain one in the family,
• was glad to purchase praise and gratitude by Scotch and Irish airs,

Listen for

• Hears Charlotte’s two words come back: she found “gratitude or vanity” in almost every attachment, and here “vanity” drives Mary, who plays to “purchase praise and gratitude”.
• Notices that Elizabeth jokes about her own vanity (“If my vanity had taken a musical turn”) and is still called “easy and unaffected”.
• Notices “eagerly”: Mary takes the instrument before Elizabeth can answer “the entreaties of several”.
• Notices that the dancing Mary plays for is what Darcy watches “in silent indignation”.

If stuck

• Why does the narrator say Mary worked so hard?
• Why does the room enjoy Elizabeth’s playing more?
• Does knowing why someone shows off make it easier to forgive?

A strong answer A strong response judges whether the narrator is fair to Mary and argues from the paragraph on her playing. One reader says fair: the fault is not her looks or her work but the “pedantic air and conceited manner” that vanity added, and the room proves it by preferring Elizabeth, “easy and unaffected”, though “not playing half so well”. Another says the narrator gives Mary a reason, that she is “the only plain one in the family”, then holds it against her, reading “vanity” in her from outside while she plays for her sisters to “purchase praise and gratitude”. The best answers hear Charlotte’s “gratitude or vanity” return, and notice that the one person who puts everything on show is the one the room enjoys least.

What it asks It asks the student to read Sir William’s answer to Darcy’s sneer. Mary’s Scotch and Irish airs have set the younger girls dancing, and “Mr. Darcy stood near them in silent indignation at such a mode of passing the evening”. Sir William begins: “What a charming amusement for young people this is, Mr. Darcy! There is nothing like dancing, after all. I consider it as one of the first refinements of polished societies.” Darcy: “Certainly, sir; and it has the advantage also of being in vogue amongst the less polished societies of the world: every savage can dance.” “Sir William only smiled.” He goes on, “after a pause”, to Bingley’s dancing, St. James’s and his own thoughts of London, until he “paused in hopes of an answer: but his companion was not disposed to make any”. The student decides whether Sir William missed the insult or let it pass. The card must not skip the dancing that provokes Darcy, or treat Sir William as a fool without the page’s support.

One reading

He missed it. Sir William hears what he expects to hear. He is “fond of superior society” and asks about St. James’s, so a gentleman with a house in town must be agreeing with him. He keeps offering openings, and even after Darcy’s silence he tries “a very gallant thing”. A man who had felt the sting would not push on so cheerfully.

• I had once some thoughts of fixing in town myself, for I am fond of superior society;
• he was struck with the notion of doing a very gallant thing,

Another reading

He chose not to take it. A smile is the one answer that cannot be quarrelled with. He waits a moment, changes the subject to Bingley, and hands Darcy a compliment that would be rude to refuse. His good nature works like composure: it lets the sneer pass and keeps the evening pleasant.

• Sir William only smiled.
• he continued, after a pause, on seeing Bingley join the group;

Listen for

• Notices “after a pause”: something may have landed.
• Hears Darcy turn Sir William’s own words: “polished societies” becomes “the less polished societies of the world”.
• Notices that Darcy’s answers shrink: “Never, sir”, then a bow, then no answer at all.
• Notices that what Darcy despises is the dancing Elizabeth’s younger sisters are enjoying.

If stuck

• What does Sir William say about dancing?
• How does Darcy answer him?
• When someone is rude to you at a party, what can you do besides answer back?

A strong answer A strong response decides whether Sir William missed the insult or let it pass, and argues from the conversation that follows. One reader says he missed it: a man “fond of superior society” hears agreement where he hopes for it, and goes on to try “a very gallant thing”. Another says he chose not to take it: “Sir William only smiled”, “after a pause”, and then turned the talk to Bingley, so good nature lets the sneer pass. The best answers hear how Darcy bends Sir William’s “polished societies” against him, and notice that the dancing he scorns is the Bennet girls’.

What it asks It asks the student to read the chapter’s last exchange. Miss Bingley guesses that Darcy is thinking how “insupportable” such society is. He answers: “Your conjecture is totally wrong, I assure you. My mind was more agreeably engaged. I have been meditating on the very great pleasure which a pair of fine eyes in the face of a pretty woman can bestow.” He names the lady “with great intrepidity”: “Miss Elizabeth Bennet.” She asks, “How long has she been such a favourite? and pray when am I to wish you joy?” He replies: “A lady’s imagination is very rapid; it jumps from admiration to love, from love to matrimony, in a moment.” She teases him about “a charming mother-in-law” at Pemberley. “He listened to her with perfect indifference, while she chose to entertain herself in this manner; and as his composure convinced her that all was safe, her wit flowed along.” The student judges how far Miss Bingley should trust his calm. The card must not say that Darcy is in love or means to propose, and must not ask whether Jane’s composure protects or endangers her, which is the last question’s work.

One reading

Quite far. Darcy says plainly what he feels: pleasure in “a pair of fine eyes”, nothing more. He mocks the jump “from admiration to love, from love to matrimony”. A man who names the lady the moment he is asked is not hiding a passion, and her jokes leave him indifferent because there is nothing in them to touch him.

• A lady’s imagination is very rapid; it jumps from admiration to love, from love to matrimony, in a moment.
• Miss Elizabeth Bennet.

Another reading

Not far. The reader has watched his interest grow all chapter, from the “dark eyes” to his wish “to know more of her”, and Miss Bingley has seen none of it. Composure is exactly what kept it from her. His calm tells her only that he will not show her what he feels. The word “safe” is hers, and the narrator lets her keep it.

• rendered uncommonly intelligent by the beautiful expression of her dark eyes.
• and as his composure convinced her that all was safe,

Listen for

• Notices that Miss Bingley’s first guess is wrong, and Darcy tells her so: “Your conjecture is totally wrong”.
• Hears “with great intrepidity”: naming Elizabeth takes some nerve.
• Notices that Darcy now speaks of “a pretty woman”, when at first he had “scarcely allowed her to be pretty”.
• Sets this “composure” beside the “composure of temper” that Elizabeth hoped would guard Jane.

If stuck

• What does Miss Bingley guess Darcy is thinking about?
• What does he tell her instead?
• Can a calm face tell you whether someone feels nothing, or only that they will not show it?

A strong answer A strong response judges how far Miss Bingley should trust Darcy’s calm and argues from the last exchange and what the narrator has shown. One reader says quite far: he names his pleasure in “a pair of fine eyes” openly and mocks the leap “from admiration to love, from love to matrimony”, so there is nothing hidden for her jokes to strike. Another says not far: the reader has watched his interest grow from the “dark eyes” to a wish “to know more of her”, and composure is what kept it from her. The best answers keep to interest and admiration, and notice the word “composure” returning from the chapter’s first paragraph.

What it asks It asks the student to test one of Charlotte’s reasons against the second half of the chapter. Charlotte says: “There is so much of gratitude or vanity in almost every attachment, that it is not safe to leave any to itself. We can all _begin_ freely--a slight preference is natural enough; but there are very few of us who have heart enough to be really in love without encouragement.” Elizabeth shows Darcy no affection. His discoveries happen out of her sight (“Of this she was perfectly unaware”). “He began to wish to know more of her”. At Sir William’s she teases him on Charlotte’s dare, and when Sir William would give him her hand, “she instantly drew back”. Then: “Her resistance had not injured her with the gentleman, and he was thinking of her with some complacency”. The student builds a thesis on whether Darcy’s case proves Charlotte wrong, meets the strongest objection, and revises. The card must not say that Darcy is in love or means to propose, must not give Elizabeth any feeling for Darcy beyond what she says, must not treat Charlotte as merely cynical, and must not ask whether Jane’s calm is a protection or a risk, which is the last question’s work.

One reading

It proves her wrong. Charlotte says it is “not safe to leave any to itself”. Darcy’s interest is left to itself. Elizabeth shows him no affection at all. She thinks him “the man who made himself agreeable nowhere”, teases him on Charlotte’s dare, and refuses his hand. His interest grows anyway, and her refusal does not cool it. A feeling can grow with no help from its object, even against a check.

• He began to wish to know more of her;
• Her resistance had not injured her with the gentleman,

Another reading

It leaves her standing. Charlotte grants that “We can all _begin_ freely”; what she doubts is being “really in love” without encouragement. Darcy has only begun. He wishes “to know more of her” and thinks of her “with some complacency”, and that is a slight preference, the very thing she calls “natural enough”. His case shows a beginning growing alone, not a love.

• We can all begin freely--a slight preference is natural enough;
• and he was thinking of her with some complacency,

Listen for

• Hears Charlotte’s line between “_begin_ freely” and being “really in love”, and asks which side of it Darcy stands on.
• Notices that the narrator lists Darcy’s discoveries before Elizabeth has said a word to him in this chapter.
• Asks whether teasing him on a dare is a kind of encouragement she does not mean to give.
• Sets Darcy beside Bingley, who by Charlotte’s own account “may never do more than like her”.

If stuck

• What does Charlotte say most people need before they can really fall in love?
• What does Elizabeth do when Sir William tries to pair her with Darcy?
• Can you grow interested in someone who gives you no sign at all?

A strong answer A strong thesis says whether Darcy’s case proves Charlotte wrong and argues from her reasons and the narrator’s account of him. A student might argue that it does: Elizabeth shows him no affection, refuses his hand, and still “Her resistance had not injured her with the gentleman”. The strongest objection is Charlotte’s own distinction: “We can all _begin_ freely”, and what she doubts is being “really in love” without help, while Darcy has only begun to wish “to know more of her”. A good revision might hold that Darcy tests only the first half of her claim: a preference can begin and grow with no help from its object, but the chapter stops before showing whether it can become more than that, which is the step Charlotte fears Bingley may never take.

What it asks It asks the guide’s last question. The chapter opens on Elizabeth’s pleasure that Jane’s love “was not likely to be discovered by the world in general, since Jane united with great strength of feeling, a composure of temper and an uniform cheerfulness of manner, which would guard her from the suspicions of the impertinent.” Charlotte answers: “It may, perhaps, be pleasant ... to be able to impose on the public in such a case; but it is sometimes a disadvantage to be so very guarded. If a woman conceals her affection with the same skill from the object of it, she may lose the opportunity of fixing him; and it will then be but poor consolation to believe the world equally in the dark.” She adds, “Bingley likes your sister undoubtedly; but he may never do more than like her, if she does not help him on.” Elizabeth: “But she does help him on, as much as her nature will allow.” The chapter closes on another composure, Darcy’s, which convinces Miss Bingley “that all was safe”. The student builds a thesis on whether Jane’s calm manner protects her or puts her at risk, meets the strongest objection, and revises. The card must not say that Bingley’s feeling is weak or that Jane’s composure will cost her, since the chapter only raises the risk; must not suggest that Charlotte will act on her own advice; and must not say that Darcy is in love.

One reading

A protection. Elizabeth’s word is “guard”: Jane’s calm keeps her love from “the suspicions of the impertinent”, and the chapter is full of such suspicion, down to Miss Bingley’s “when am I to wish you joy?” Jane has known Bingley a fortnight, and a feeling not yet sure of itself is safer unseen. The calm is not coldness either. Elizabeth says Jane helps him on “as much as her nature will allow”, and Charlotte herself grants that “Bingley likes your sister undoubtedly”.

• which would guard her from the suspicions of the impertinent.
• But she does help him on, as much as her nature will allow.

Another reading

A risk. Charlotte’s point is that the guard cannot choose whom it keeps out: a woman may hide her feeling “with the same skill from the object of it”. Bingley sees Jane only “in large mixed parties”, never for long. The second half of the chapter shows how much even a watchful person misses: Elizabeth, who reads Jane so well, does not see Darcy’s interest, and Miss Bingley takes Darcy’s composure to mean “all was safe”. Calm is easily read as nothing to see.

• If a woman conceals her affection with the same skill from the object of it, she may lose the opportunity of fixing him;
• as they always see each other in large mixed parties,

Listen for

• Hears “guard” and “impose on the public”: Elizabeth and Charlotte give the same calm different names.
• Notices that Charlotte grants the pleasure first (“It may, perhaps, be pleasant”) before she names the danger.
• Uses the second half as a test case: Darcy’s hidden interest, and the composure that convinces Miss Bingley.
• Keeps to what the chapter shows: it raises the risk and does not settle it.

If stuck

• What does Elizabeth say Jane’s calm will protect her from?
• What does Charlotte say it might cost her?
• Can the same calm keep out the people you want to keep out and the one you want to let in?

A strong answer A strong thesis says whether Jane’s calm protects her or puts her at risk, and argues from the opening paragraph, the debate and the chapter’s end. A student might argue it protects her: Elizabeth’s “guard” keeps a fortnight’s feeling from “the suspicions of the impertinent”, and Jane still helps Bingley on “as much as her nature will allow”. The strongest objection is Charlotte’s: a guard that works on the world may work “with the same skill” on Bingley, who sees Jane only “in large mixed parties”, and the chapter’s second half shows watchful people misreading calm. A good revision might hold that the calm protects Jane from everyone but the one person it most needs to reach, and that the chapter leaves open whether Bingley will see past it.