Key Quote
“"Are the shades of Pemberley to be thus polluted?"”
Lady Catherine · Chapter 56
Focus: “polluted”
Lady Catherine's most visceral objection to Elizabeth — the word 'polluted' reveals that she views the Bennet family as a contaminant, a biological threat to aristocratic purity. Marriage between classes is framed as environmental destruction.
Technique 1 — METAPHOR OF CONTAMINATION
The verb 'polluted' introduces a metaphor of environmental contamination — Elizabeth's family will poison Pemberley's purity like waste poisoning a river. The word dehumanises the Bennets: they are not people but a toxin (poisonous substance). Lady Catherine speaks as though class mixing were a form of biological threat, an attitude that borders on the eugenic (relating to selective breeding).
The noun 'shades' (meaning trees or grounds) personifies Pemberley itself — the estate becomes a living entity that can be harmed. Lady Catherine values property above people: Pemberley's 'shades' must be protected from Elizabeth's family. Austen exposes how aristocratic values prioritise land and lineage over human worth.
Key Words
RAD — STAGNATE
Lady Catherine's use of 'polluted' reveals deep-rooted class prejudice that she has never examined. She genuinely views Elizabeth's family as a contaminant — this is not strategic rhetoric but an authentic expression of aristocratic disgust. Her inability to see Elizabeth as a worthy individual demonstrates the dehumanising effect of rigid class consciousness.
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Technique 2 — RHETORICAL QUESTION AS WEAPON
The sentence is a rhetorical question expecting the answer 'No, of course not' — Lady Catherine assumes Elizabeth will be horrified by the idea of 'polluting' Pemberley and retreat. But Elizabeth does not play the expected role: she refuses to be ashamed. The rhetorical question, designed to close down discussion, instead opens it up. Austen shows that rhetorical dominance depends on the listener's compliance.
The phrase 'to be thus' gives the question a theatrical formality — Lady Catherine speaks as though delivering a verdict in court rather than having a conversation. Her language performs judicial authority (the power to judge and sentence), but Elizabeth recognises it as pure performance. The gap between Lady Catherine's assumed power and her actual impotence is the scene's central comedy.
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Context (AO3)
PEMBERLEY AS SYMBOL
Pemberley represents the ideal English estate — orderly, beautiful, and morally serious (Darcy is a good landlord). Lady Catherine's claim to protect Pemberley is ironic: by trying to prevent Darcy from marrying Elizabeth, she is actually opposing his happiness and moral growth. The true 'pollution' would be a loveless marriage arranged for class purity.
CLASS & PURITY
The language of 'pollution' connects to Regency anxieties about social contamination — the fear that mixing classes would degrade aristocratic bloodlines and culture. This anxiety underlies much of the novel's conflict: Darcy initially struggles with Elizabeth's family connections, and Miss Bingley and Lady Catherine explicitly voice the class prejudice that Darcy must overcome.
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WOW — OTHERING & ABJECTION (Kristeva)
Julia Kristeva argues that societies construct the abject (the rejected, disgusting Other) to define their own identity — 'we' are defined by what 'we' are not. Lady Catherine's use of 'polluted' performs abjection: the Bennet family is cast as the abject Other whose proximity threatens aristocratic identity. Kristeva argues that abjection always reveals more about the person who abjects than about the person abjected — Lady Catherine's disgust exposes her own fragility: her identity depends entirely on excluding others. Without someone to look down upon, her self-concept collapses.
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