Philosophy and Jane Austen

Beware, the following post may get a bit involved and lengthy, but it's a post I've been meaning to write up since mid-semester last year. Dedicated to my darling Dr. Cuddeback companion: the lovely Alexandra.

In Philosophy class Alex and I like to make connections to Jane Austen. That's just what Austenites do. If something is worth mentioning, it is worth mentioning with reference to our noble patroness. So naturally, when we got to the part of the class where we talked about Plato's Allegory of the Cave, we looked at it in the eyes of dedicated Austenites and drew a most brilliant connection. For the purpose of this post I must first make some explanation of what the Allegory of the Cave is all about, however, and as I don't feel up to the task myself I have found a brief (yes, this is the briefest one I could find) explanation of it. (You'll thank me later, if I put this into my own words you would find yourself in the greatest muddle.)

The Allegory of the Cave

1. Plato realizes that the general run of humankind can think, and speak, etc., without (so far as they acknowledge) any awareness of his realm of Forms.
2. The allegory of the cave is supposed to explain this.
3. In the allegory, Plato likens people untutored in the Theory of Forms to prisoners chained in a cave, unable to turn their heads. All they can see is the wall of the cave. Behind them burns a fire.  Between the fire and the prisoners there is a parapet, along which puppeteers can walk. The puppeteers, who are behind the prisoners, hold up puppets that cast shadows on the wall of the cave. The prisoners are unable to see these puppets, the real objects, that pass behind them. What the prisoners see and hear are shadows and echoes cast by objects that they do not see. Here is an illustration of Plato’s Cave:
4. Such prisoners would mistake appearance for reality. They would think the things they see on the wall (the shadows) were real; they would know nothing of the real causes of the shadows.
5. So when the prisoners talk, what are they talking about? If an object (a book, let us say) is carried past behind them, and it casts a shadow on the wall, and a prisoner says “I see a book,” what is he talking about?He thinks he is talking about a book, but he is really talking about a shadow. But he uses the word “book.” What does that refer to?
   
6. Plato gives his answer at line (515b2). The text here has puzzled many editors, and it has been frequently emended. The translation in Grube/Reeve gets the point correctly:

   “And if they could talk to one another, don’t you think they’d suppose that the names they used applied to the things they see passing before them?”

7. Plato’s point is that the prisoners would be mistaken. For they would be taking the terms in their language to refer to the shadows that pass before their eyes, rather than (as is correct, in Plato’s view) to the real things that cast the shadows.If a prisoner says “That’s a book” he thinks that the word “book” refers to the very thing he is looking at. But he would be wrong. He’s only looking at a shadow. The real referent of the word “book” he cannot see. To see it, he would have to turn his head around. (http://faculty.washington.edu/smcohen/320/cave.htm)

So basically, there are several levels of knowledge. There is the looking at shadows and believing them to be reality, there is the turning your head and seeing the shadows for what they are, there is the emerging from the cave and seeing reality (but after being in the cave so long your eyes are going to be blinded by the light and you aren't going to grasp it all) and then there is the moment where your eyes have adjusted and you finally take it all in. 

Now comes the moment where I get to explain our Jane Austen comparison. 

It is a truth universally acknowledged that there are many different kinds of Jane Austen fans, and there are many different levels of comprehension for her work. These levels of comprehension correspond with the levels of knowledge. So first we have, what I will call the

LOST IN AUSTEN FANGIRL

She professes to be Jane Austen's biggest fan. She proclaims she has read Jane Austen's books so many times she has lost track (please note, she only ever mentions Pride and Prejudice.) She talks about how she dreams of living in the regency era (and yet, she has practically speaking no knowledge of how to survive in that time period) The fact of the matter is that the Lost in Austen fangirl talks about being obsessed with Jane Austen but what she's really obsessed with is Colin Firth in a wet shirt. Example A.

If you've seen Lost in Austen you will know what I'm talking about..

By this time you can probably guess what level of knowledge I'm drawing this comparison to. The Lost in Austen fangirl is like the person absorbed with the shadows on the wall. They see, but they do not see. They cannot get past Mr. Darcy in the wet shirt, and they cannot get past the shadows of what is there to be seen. It is a superficial knowledge, a knowledge that does not get past the very cover of things.

We then proceed to the second level.

THE BBC PRIDE AND PREJUDICE FANGIRL

This fangirl watches the BBC adaption of Pride and Prejudice on repeat. She adores everything about it. Now, don't get me wrong, the BBC adaption is the best of all adaptions. It is the one that comes closest to capturing the essence of the story, but in this fangirl there's still a lot of obsession with Colin Firth as Mr. Darcy.

Then we have:

THE FIRST TIME READER

Now, I don't know about you, but the first time I read Pride and Prejudice I just thought of it as a ripping good story. I wasn't looking for deeper meanings, themes, or motifs, I was just enjoying it for the storyline. It amused me and I laughed with the characters but it didn't lead me to deep arduous contemplation on humanity or human nature. You see the reality, but it's too bright to take everything in.

last but not least we have:

THE DEVOTED AUSTENITE

The one who read Jane Austen and see all that is there. They who look beyond the portrayal of the characters from movie adaptions, beyond the story itself, and look for the world as seen through Jane Austen's eyes. This is the reader who is trying to learn from what is written, finding depth and finding meaning. 

In short, this has been a comparison between the different levels of comprehension in the Jane Austen reader, and Plato's Allegory of the cave.