The Pantheon as an Architectural Success Essay Example for Free

The Pantheon as an Architectural Success Essay The Roman Pantheon is the most preserved building in Rome despite all the additions and restorations to its original form. The original Pantheon was built in 27 BC by Marcus Agrippa after the conclusion of the Battle of Actium. The monolithic structure seen in Rome today, however, is no longer the original Pantheon from Agrippa’s time. The 27 BC Pantheon burned down in the historic fire of 80 AD and was completely reconstructed by Emeperor Hadrian in 125 AD with the present day structure. Hadrian, however, attributed the construction to the mind behind the original Pantheon as attested to by the inscription on the portico Hadrian left on the building itself, â€Å"Marcus Agrippa, son of Lucius, in his third consulate, made it.† (Ward-Perkins, 111).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The Pantheon continues to amaze thousands of individuals daily. Tourists as well as Roman locals are held enchanted by the buildings faà §ade and dome. The interest stirred up by the Pantheon, however, doesn’t involve just tourists and curious eyes of onlookers. The architectural accomplishment that is the Pantheon has evoked many debates and researches as to its resilience to weathering and time. The Pantheon is a wonder of the modern world, a success story that continues to urge minds of the academe to unlock its secrets. This paper intends to delve into the more physical aspect of the Pantheon and unearth the factors that contribute to the greatness of the structure’s architectural design and composition.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The Pantheon exemplifies the best of what the Roman architectural revolution put forth during the first century. The Pantheon has within its frame some of the most advanced innovations Roman architects of the first century could provide. Its construction was made possible through the development and utilization of a new type of expert concrete that is now known as Roman concrete. Roman concrete allowed for buildings and architectural structures that were more curvilinear in form. This is most evident in the Pantheon’s configuration (Mark Hutchinson, 24).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Roman concrete used material that was very similar to the material used today in making concrete. The difference is seen in the way the Romans utilized these materials. The basic technique employed in Roman construction at that time consisted of only a few steps. First, a semi-fluid substance of lime, pozzolan, and small stones are poured in. Then a layer of stones is put on top this mixture. A second batch of the semi-fluid substance is then poured over which another layer of stones are placed. This technique is generally accepted by those studying Roman architecture. Debate continues, however, regarding the placement of the mortar on whether it was poured or tamped (Herring, 14).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Roman pozzolan-based concrete proved to be advantageous because of the extra aspects it added to the possibilities of design which were not available with lime mortar. One of these aspects is the fact that Roman pozzolan-based concrete did not need to be dried out for them to set. Roman concrete would set even when immersed. These would also cool relatively faster than lime mortar and had an added factor of increasing compressive strength, although tensile strength was low. (Mainstone, 25)   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The pozzolan base of Roman concrete, however, was not the only factor that made this material superior to all others available during the time of construction of the Pantheon. There were three other factors that played into the excellence of Roman concrete. Romans were very skilled in choosing the best quality of lime for the concrete. It was essential for them to ensure that only the best quality of materials went in to creating their concrete. The early Roman construction workers were also strict in enforcing that the same relative amounts of materials went into the concrete production process. This was to ensure that the concrete they produced would always have the same first-rate quality. The ratio of water mixed with the cement material was also monitored. The Romans made sure that water was minimal in the mixture. The process of placing and compaction of the mortar was also perfected, ensuring that almost no spaces were present in the aggregate. This was to ensure that the structure for which the concrete was being used would attain the highest possible strength and therefore be one that would last under weathering and other corrosive factors (Herring, 16).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The construction of the Pantheon was not a simple task. The yard, from which the blocks used to construct the structure, was located 800 meters away from the actual site of the Pantheon. Delivery of the blocks from the building yard to the construction site must have required many laborers. The distance, however, may have also been counterbalanced by the Tiber River via which most of the blocks must have been shipped. With all the work involved in the construction of the Pantheon, it is certain that care and skill were essential in the construction. Only with extra caution and true skill could a monument such as the Pantheon truly stand and outlast its makers. (Hasselberg, 88)   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Understanding the material which contributed to the strength of the Pantheon is only the first step in understanding the might of its design. Certainly, the Roman Pantheon has lasted the test of time and has undergone the weathering of ages due to the Roman concrete with which it was built. And certainly the Romans ability to come up with a plan for this construction and to follow through with these plans through careful execution and skillful craftsmanship added to this architectural success. However, the monolithic structure has continued on as a great architectural feat through time not only because of its durability but also because of its monumental design. The well-renowned painter of the ceiling of the Sistine chapel, Michelangelo, was one of the many people whose amazement and love for the arts were drawn forth by the Pantheon. He is known to have once described the building as having an â€Å"Angelic and not human design†, a design attributable to the competence and expertise of the ancient Romans (Lugli, 1). The Pantheon’s interior is one of the most concrete examples for the beauty and angelic appeal of the building. The first and most conspicuous aspect of the Pantheon’s interior that invites its visitor to exclaim in wonder is not the walls or ceiling but rather the amount of space that welcomes all to take a step inside. Roman architecture considered space to be something more than just a gap between two objects. Rather, space was considered as a concrete object, as something with volume, with equal weight as the human body. The Pantheon provides modern-day proof of the Roman architects need to place room and make space in the architectural designs of the buildings constructed at that time (Semes, C1.1). The extensive space seen in the Pantheon is not complete to be considered as remarkable if left by itself. It must always be considered with relation to a context, the structures forming the boundary of that space. It is then essential for the Roman architects to ensure that the walls and domed ceiling of the Pantheon will do well to complement the space they wish to portray in the building (Semes, C1.2). In the case of the Pantheon, Roman architects chose a round shape to serve as a boundary of the space within the interior of the Pantheon. The circular shape adds to a feeling that the Pantheon’s interior is indeed spacious. The Pantheon’s walls are ordered by an array of extravagant structures such as the building’s columns, lintels, niches, doorways, and of course the wall itself seen between the earlier mentioned structures. The structures involved in the Pantheon’s walls were not only varied in type but were also varied in terms of the subtypes. The additions to the wall were formed into varying shapes, thus forming subtypes, to add to the intricacy of the beauty of the Pantheon’s interior (Semes, C1.2). Take a moment now to scrutinize one of these features which exists as an aspect of the design of the Pantheon celebrated by contemporary architects as a link to early architectural concepts of beauty. This is seen in the three basic dimensions of the Pantheon’s wall. These three dimensions include the diameter of the columns, the space between each column, and the height of the columns. These dimensions are in the ratio of 1:2:9.5 in the Pantheon. Hermogenes, a popular architect during the Hellenistic age, considered these dimensions and ratio to be the makings of a perfect faà §ade. Vitruvius, the engineer during the 1st century in Rome, is most likely the one to bring to life through the Pantheon the concepts introduced by Hermogenes (Hasselberg, 89).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The round wall contains many niches as well creating an impression of the wall containing numerous chambers at different levels. These niches contain some of the most reputable men of the Western world including kings of Italy, popes, and famous painters such as Raphael. All niches as well as openings in the wall are framed by an arch of bricks which serve more than just beautification purposes. These arches add to the support of the wall above the openings and niches and were called relieving arches because of this feature. These arches only went so far as the wall and did not invade the Pantheon’s dome. Creating structural support through the use of relieving arches was very common with Roman architects during the time the Pantheon was built (Lugli, 30). Roman architects showed their prowess by the careful placement of these structures, the columns, the lintels, the niches, the doorways, and the wall itself. They alternated solid structures with spaces creating an interaction between the two which worked to increase the Pantheon’s appeal as an architectural masterpiece. The differing shapes in the structures, therefore, did not give a sense of disorder but rather an overall impression of organization in the face of diversity. The walls and its complementing features thus give an observer’s eyes a feast both as individual pieces and as an integrated whole (Semes, C1.2). One of the most acclaimed features of the Pantheon is its domed ceiling. It is celebrated world-wide for its being built. The Romans were known for their addition of arches in their structures. The creation of the Roman Pantheon’s domed ceiling gives evidence to the development of the Roman architectural concept of arches. Roman architecture evolved to improve the concept of the arch, modifying it and making it more complex with the resulting structure of a dome. The Roman concrete based on pozzolan is acknowledged by many to be the reason for the Roman architects’ success in building a domed ceiling. At the time, the new form of concrete made the construction of the ceiling an accomplishable feat. Lime mortar would not have been an easy material to use in the construction of the Pantheon’s ceiling, thus the use of the new pozzolan-based concrete, which had many features of modern Portland concrete, contributed greatly to the monumental task of building the dome-shaped ceiling. However, there are those who believe that although the concrete is one of the main factors involved in the dome’s success, it is not the only factor. Robert Mark and Paul Hutchinson believe that the concentric stepped rings placed in the outer surface of the Pantheon dome add to the success of the ceiling (26). It is believed that the steven step rings helped to bring stability to the entire structure of the Pantheon by adding to the compression of the structure. This is evidenced by the oculus at the center of the dome which serves as a compression ring. The positioning of the ring or oculus effectively distributes the compression of the structure about this point. The compression ring attests to the skill of the Roman architects and engineers. They not only had the skill and knowledge required to create the colossal Pantheon but they also had the expertise and comprehension of modern engineering to create it in such a way that it would remain standing as a solid and stable structure for a long time.   Many of the imitations of the Pantheon add such stepped rings to the dome of their derivative structures probably for the same purpose of stability and compression. The dome was also a successful architectural feat with the help of the coffering. Coffering is the placing of sunken panels of different shapes in accordance with the structures in the ceiling. This serves aesthetic purposes as well as reinforces structural strength. The dome’s underside was also made stronger with the use of lightweight aggregate in the upper part of the building’s edifice. The aggregate was of lower density than the aggregate used in the lower parts of the building such as the walls, floor and columns. It is evident then that a lot of though went into the creation of the Pantheon’s dome (Mark Huthcinson, 26). Because of the addition of an oculus in the domed ceiling, the Pantheon provides a perfect example of an architect’s use of light to emphasize the appearance of space. The Pantheon’s dome has an oculus or opening in the middle which makes a circular form across the Pantheon’s interior, the floor and the walls. Sunlight streams in through the open oculus and gives an enchanting chiaroscuro effect, a term indicating the alternating effect of light and dark, via the columns and niches in the room (Semes, C1.2). The shadows created by the columns and niches plays with the light coming in from the oculus to create the effect of irregular but successive alternations of brightness agains darkness. However, a simple addition of an opening in a spacious room is not enough to create such a marvel as the Pantheon’s interior. There must always be the consideration of the features within the structure’s interior and how these features would interact with the light. The different materials used in the construction of the Pantheon add to the mystery created by the illumination entering from the opening in the dome’s oculus. The classical interior welcomes the streaming in of light from the sun or perhaps even from the moon. The walls, the columns, the niches and even the arches add to the effect given by the streaming glow from above. The marbles with all its colors, the golden gleams from the ornaments, allow for the light to play inside the Pantheon and create different effects (Semes, C1.2). The columns in the Pantheon’s interior are created with different types of marble. Those in the lower zone are of a material called giallo antico. This is a type of marble that is of a yellowish-orange color. Some of the other columns in the lower zone are made of marble with an off-white color streaked with reddish-purple hues, called pavonazzo. The walls and floor are covered with marble of white, green, and green-gray colors. Although it may seem to one who has not seen the Pantheon up close that these colors would clash and cause quite an unattractive display of shades, this is not the case in the Pantheon. The architects and engineers of the Pantheon were so skilled that even in the mixing of these hues; the Pantheon creates a sense of intricate beauty and intimate splendor. These add to the attraction of the Pantheon’s interior for visiting tourists and even for the locals. The colors are so well balanced that the interior creates a sense of energy and of unity despite the variation (Semes, C1.2). The Pantheon lends this energy to its visitors, encapsulating them in its color-induced aura once they step inside the great structure’s walls. The Pantheon came to be used for different purposes, attesting to the flexibility of its architectural design. Historians speculate that the Pantheon may have been initially used as a dedication to the Roman gods and goddesses worshipped by many at that time. It may also have served an astrological purpose which may have been the reason for the oculus or hole at the rooftop of the Pantheon. The structure continued to served as a church in 608, as a funerary afterwards, and as a place where the busts of artists not laid to rest in the Pantheon were placed (Howell, 34). The end of the Roman civilization signaled the replacement of Roman architectural design. The Dark Ages was a time of little growth in architectural design but new architecture was conceptualized by the succeeding Renaissance minds. If not for structures such as the Pantheon, Roman architecture would have been all but forgotten. Today, many historians, architects and researchers continue to study the Pantheon to try and uncover the secrets lost during the downfall of the Roman Empire. It provides modern architects are now returning to the foundations of classical architecture and the Pantheon is a treasure trove of knowledge regarding classical design. The Pantheon provides these architects with aspects of classical design that are no longer visible in modern structures. It is clear that the Pantheon continues to be a legacy of the skill and capabilities of the Roman architects who made it (Semes, C1.2). Works Cited Lugli, G. â€Å"The Pantheon and Adjacent Structures.† Rome: Giovanni Bardi Publisher, 1971 Hasselberg, Lothar. â€Å"Deciphering a Roman Blueprint.† Scientific American 272 (1995): 84-89 Herring, Ben. â€Å"The Secrets of Roman Concrete.† Constructor Magazine September 2002:13-16 Howell, Peter. â€Å"Pantheons: Transformations of a Monumental Idea.† Apollo Magazine September 2005: 33-36 Mainstone, Rowland. â€Å"Letter On the Structure of the Roman Pantheon.† The Art Bulletin 68 (1986): 673-674 Mark, Robert, and Paul Hutchinson. â€Å"On the Structure of the Roman Pantheon.† The Art Bulletin 68 (1986): 24-34 Semes, Steven. â€Å"Pantheon Inside.† Architecture Week 254 (2005): C1.1-C1.2 Ward-Perkins, J.B. â€Å"Roman Imperial Architecture.† New York: Penguin Books, 1985

Epilepsy And The Blood Type Diet :: Biology Essays Research Papers

Epilepsy And The Blood Type Diet Are people with certain blood types more susceptible to chronic seizures than others? Can a simple diet reverse this medical condition? And why didn't anybody think of this before? There's a myriad of fad diets out these days: Atkins, the fruit juice diet, Russian Air Force diet, and the Zone to name a few. However, the most recent craze is, "The Blood Type Diet", based on the book, Eat Right 4 Your Type by Doctor Peter D'Adamo. The diet focuses on an individual's genetic makeup (blood type) in determining which foods are best digested. D'Adamo heads up the Institute for Human Individuality (IfHi), which "seeks to foster research in the expanding area of human nutrigenomics. The science of nutrigenomics (naturopathic medicine) seeks to provide a molecular understanding for how common dietary chemicals affect health by altering the expression or structure of an individual's genetic makeup" (1). On the website, the "five basic tenets of nutrigenomics" are listed as: 1. Improper diets are risk factors for disease. 2. Dietary chemicals alter gene expression and/or change genome structure. 3. The degree to which diet influences the balance between healthy and disease states may depend on an individual's genetic makeup. 4. Some diet-regulated genes (and their normal, common variants) are likely to play a role in the onset, incidence, progression, and/or severity of chronic diseases. 5. "Intelligent nutrition" - that is, diets based upon genetics, nutritional requirements and status - prevents and mitigates chronic diseases. (1). The Blood Type Diet is founded upon the microscopic observation of how ABO types break down different foods, suggesting that one person's nourishment may be another's poison. The book examines the demographic distributions of different blood types, and proposes that "the variations, strengths and weaknesses of each blood group can be seen as part of humanity's continual process of acclimating to different environmental challenges" (2). D'Adamo asserts that blood groups "evolved as migratory mutations," with type O being the most "ancient" of the ABO group, and housing the largest population (40-45%), second to type A (35-40%), dwindling in B (4-11%), with the rarest being AB (0-2%). People with type O blood (hunter-gatherers) are encouraged to be carnivores, while type A's can survive solely as vegetarians. Explaining the origin and spread of blood type B, D'Adamo states, "Two basic blood group B population patterns emerged out of the Neolithic revolution in Asia: an agrarian, relati vely sedentary population located in the south and east, and the wandering nomadic societies of the north and west" (2).

Gerard Manley Hopkins Essay

The Windhover, by Gerard Manley Hopkins is a poem about the essence of natural things. This poem describes the relationship of human beings to the natural world as the poet is addressing God through the bird. It is praising him for all the marvellous things He has created and that humans can enjoy. The poem consists in three verses. In the first verse, the poet describes the power of the bird as it is portrayed as the master of heavens. This verse captures the movement of the bird in the sky. It starts with â€Å"I caught this morning mornings minion† that gives the feeling that the bird is a servant of the sky and it is the morning because it is a good time for hunting. Hopkins puts words together like â€Å"dapple dawn-drawn† to portray multi-images as here where the bird is drawn in the sky. Also, the alliteration here produces the effect of the bird’s movement in the air and the intensity of the poem’s feeling. The author writes that the bird is â€Å"striding high there† and this produces the image that the bird is taking huge steps in the air. The bird also â€Å"rung upon the rein of a wimpling wing† showing his power and control with â€Å"ecstasy†. The bird has control over the wind. The rhythm in this verse is very slow, yet steady. This verse consists in very long sentences that convey the effect that the bird is circling the air; with long movements it also reflects the poets feelings. This verse gives as the feeling that he poet has searched very well the words to describe his feelings but at the same time describing the bird. He searches for words that sound as they are written for example â€Å"sweeps smooth†. The second verse consists only of three lines explaining how the bird spots its pray and here, the beauty of the bird is more accentuated when the author uses â€Å"Brute beauty† to describe how beautiful the bird is, even when it is hunting. The word â€Å"brute† has an impact on the readers because this word means violent, wild, but here, the author uses it to emphasize that the beauty is a different kind of beauty; that it is a magnificent beauty, so marvellous and magnificent that there is no better word to describe it than brute. The poem reaches to the climax when the bird spots the pray and the author writes â€Å"here buckle! † as if warning us for action. To be prepared. From now on, the rhythm is more steady with lots of comas and faster than the first verse. This gives us the effect that the bird is now descending towards its pray. At the end of this verse, the author addresses to God as â€Å"Oh my chevalier! † and this is to thank Him for creating such marvellous things as the bird, full of â€Å"Brute beauty† so that humans can enjoy, even though it is only by watching them. When the author addresses to God, the rhythm changes. This matches the ecstasy of the bird in his own physical mastery of the sky. The last verse consists also in three lines, and here, the relationship of human beings to the natural world is also portrayed. This verse is more as a pronouncement. Here the author stops speaking about the bird and makes us realise how God’s beauty of creation is in everything, even in things where there is no apparent beauty. This is achieved also when Hopkins starts talking about how the â€Å"shi er pli d† makes even ploughing beautiful and how â€Å"blue-bleak embers† are also beautiful. In conclusion, I think that Hopkins decides to first start talking about the Windhover and about its â€Å"Brute beauty† to then compare it to the beauty found in every thing of creation. He relates human being to the beauty of nature because the beauty found in nature comes from human’s sacrifice. The words on Hopkins poem impact me because they make me realise how lucky we are to be part of creation and enjoy the beauty there is from Christ’s sacrifice.

Love In Pride and Prejudice Novel - Free Essay Example

Sample details Pages: 4 Words: 1069 Downloads: 10 Date added: 2019/05/29 Category Literature Essay Level High school Tags: Pride and Prejudice Essay Did you like this example? Literary essay on Pride and Prejudice All the plot lines of this novel Jane Austen converge to two main characters Elizabeth Bennet and Mr. Darcy. At first, one can get the impression that each of them embodies one of two traits: Mr. Don’t waste time! Our writers will create an original "Love In Pride and Prejudice Novel" essay for you Create order Darcy pride, Elizabeth prejudice against this rich and arrogant man. In fact, each of them is equally inherent in pride and long-term prejudice against each other. However, the central theme of the novel is the theme of getting rid of erroneous judgments, prompted by the first impressions, correcting them through new impressions and vigorous mental work.In her novel, Jane Austen wanted, first of all, to show a reader the relationship between people and to analyze the individual aspects of human psychology. This explains the absence of the verbal portrait of Elizabeth Bennet: the author only mentions that the girl is pretty and charming, but not so beautiful as her older sister. It is much more important for Jane Austen to tell us about her thoughts, feelings, and actions. Elizabeth does not have exceptional musical abilities, poorly understands painting, and constantly demonstrates energy and liveliness of mind instead of sad languor. Discretion and common sense determine her behavior. Lizzie is not capable of love at first sight: the real feeling is born in her heart not as a result of first impressions, but after a long time, as a result of the process of recognition and experience, supported by deep reflections. That is why she is confident in herself and her feelings. Elizabeth strictly adheres to her own views on what are happiness and marriage, considering the guarantee of family happiness not as class and material criteria, but the sincerity of the feelings of future spouses. Pr ide, or more precisely good self-esteem and her fearlessness, is present in every action and every replica of Elizabeth.Mr. Darcy has his own pride. As soon as he appears on the pages of the novel all the characters become aware of the amount of his income 10 000 pounds a year, the enormous amount for that time. Mr. Darcys appearance was not ignored by the author and he is described as a good-looking aristocratic man. Nevertheless, his beauty and charm are admired, while people know about his wealth when he demonstrates pride and arrogance his appearance starts to produce an unpleasant impression. Although he, trying to explain his behavior, speaks of his inability to easily meet people that does not convince Elizabeth. Moreover, almost simultaneously with him, the author presents Wickham, who acts as the antipode of the main character. Hardly having met Elizabeth, he tells her the story of his life, in which Mr. Darcy played the most indecent, in his words, role. Thus, all the circumstances are not in Mr. Darcys favor, and further development of the plot seems unpredictable. The rebuke, which Elizabeth gives Darcy, should, as if , signify the completion of their acquaintance. However, Elizabeths refusal only gives impetus to a new development of their relations. The refusal received by Darcy was not an easy test for his pride. A man of aristocratic upbringing, he did not show his raging feelings. With his restraint, the most natural way of expressing emotions was not direct dialogue but correspondence with his chosen one.The most important elements of the formation of Darcys image are the judgments made about him by other characters. And if at the beginning of the novel these judgments form a negative image of the character, later, from the moment of Elizabeths visit to Pemberley, the opinions of other people about Mr. Darcy help her to get rid of the formed stereotype. She admires the perfect taste of the owner, who managed not to disturb the natural beauty of the landscape. The interior of the house also gives her pleasure not a tasteless luxury, but genuine elegance. The enthusiastic response about Mr. Darcy from his housekeeper becomes another revela tion for Elizabeth. All these external impressions gradually transform the initially hostile attitude of Elizabeth into completely different feelings.As for Mr. Darcy, when Elizabeth appears in his life, a fierce struggle unfolds in his soul. He struggles against his feelings for Elizabeth, realizing that the girls social position does not match his rank. Although, from their conversations, it is clear that the young man has nothing against her, and even at the most provocative Lizzies replicas he responds with polite kindness. In fact, some of Darcys phrases show his feelings. For example, during Elizabeths visit to tte Collins, he reproaches her for being overly attached to her home, and his words reveal a secret desire to take Lizzy out of Longbourn. The proposal he made to Elizabeth shortly after this conversation is the result of a significant concession of his beliefs in favor of the voice of the heart. It is not easy for Mr. Darcy to admit his love, but he is still a proud person, not doubting that any girl will feel happy with his condescension. Love and pride still have equal power over him, and Elizabeths accusation that he did not explain himself in the way that a noble man should wound him no less than the girls refusal. Indeed, Mr. Darcy considered himself a true aristocrat, and it was the class prejudices that prevented him from giving vent to his feelings. From this moment, the better me of Mr. Darcy begins to struggle with his pride. By doing good things, he makes Elizabeth to change her opinion about him and decides to talk to her again abo ut his feelings. During this explanation, both characters admit their mistakes.Throughout the novel, the development of Elizabeths feelings for Mr. Darcy is shown in all complexity and contradiction: from dislike to doubts, then, to regret about her judgments about him, and finally, to admiration. By the end of the book Elizabeth becomes not only happy but also wise: now she is more circumspect and understands that one cannot rely either on first impressions or on public opinion because everyone looks at things differently. The path of Mr. Darcy towards Elizabeth is the path of getting rid of prejudices and arrogance, the path from vanity and pride to a self-critical reassessment of ones character. Thus, from a lot of observations and meetings, a new image of each other is gradually emerging in the souls of Elizabeth and Darcy. Finally, love replaced pride and prejudice.