frequently Mr. Darcy's eyes were fixed on her. She hardly knew how to suppose that she could be an object of admiration to so great a man; and yet that he should look at her because he disliked her, was still more strange. She could only imagine, however, at last that she drew his notice because there was something more wrong and reprehensible, according to his ideas of right, than in any other person present. The supposition did not pain her. She liked him too little to care for his approbation. After playing some Italian songs, Miss Bingley varied the charm by a lively Scotch air; and soon afterwards Mr. Darcy, drawing near Elizabeth, said to her: "Do not you feel a great inclination, Miss Bennet, to seize such an opportunity of dancing a reel?" She smiled, but made no answer. He repeated the question, with some surprise at her silence. "Oh!" said she, "I heard you before, but I could not immediately determine what to say in reply
is"), phonetics (no word in English may begin with ng), idiom ("believe" alone may not be followed by an infinitive, only by a clause beginning with "that"). Others come from etymology, in which the derivation of a word has left many now-silent letters, as in "through" or "knight." Still others come from limitations on vocabulary. A teen-ager who uses "swell" to mean what an adult might designate by a dozen different terms of approbation utters speech that is much more redundant, more restricted, less variable, less flexible than the adult's. As Shannon wrote, "Two extremes of redundancy in English prose are represented by Basic English and by James Joyce's book Finnegans Wake. The Basic English vocabulary is limited to 850 words and the redundancy is very high. This is reflected in the expansion that occurs when a passage is translated into Basic English. Joyce on the other hand enlarges the
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