What literary effects are in Pride and Prejudice by Jane Austen?

Interestingly, "literary effects" is used four different
ways in literary discussion. Literary effect
is:

1. synonymous with "literary
   devices"


2. the effects of something external on
   contemporaneous literature, e.g, war's effect on literature (For Whom the Bell
   Tolls, Hemingway)


3. the effects of literature on
   something external; e.g., on learning writing skills


4. the
   effects of the narrative on the reader's consciousness, reason or emotions; e.g., social
   action, enlightenment, depression.

The use of
the preposition "in" for "effects are in Pride and Prejudice"
strongly suggests you mean the first usage: literary effects: synonymous
with "literary devices." Therefore, I'll briefly describe some important
literary effects/devices Austen uses in Pride and
Prejudice.

Aside from Austen's famous ironic
narratorial voice, she employs situational irony to good
effect. In the first chapter, where a skilled author develops literary effects that
carry throughout the narrative, Mrs. Bennet ironically wishes one of her daughters to be
"happily settled at Netherfield" thus leading the way for "the others to be equally well
married." This is ironic because of all the nearby mothers who were wishing the
identical thing, Mrs. Bennet's wish came true.

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To be fond of dancing was a certain step towards
falling in love; and very lively hopes of Mr. Bingley's heart were entertained [by
all].

Another situational
irony also involves Mrs. Bennet. In Chapter 2, Mrs. Bennet, ironically speculates that
it will be Lydia who dances with Bingley, suggesting it will be she whom he chooses for
marriage. This is ironic because Lydia ends up ill-married, not at Netherfield and not
to Bingley! She marries the villain Wickham.  

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"Lydia, my love, though you are the youngest, I
dare say Mr. Bingley will dance with you at the next
ball."

Austen also uses Mrs.
Bennet's foolishness to help develop the plot through
foreshadowing. Ironically, both examples of situational
irony develop foreshadowing. The first instance above foreshadows that, indeed, one of
Mrs. Bennet's daughters will come to be "happily settled at Netherfield," although it is
not Lydia, who is later shown to be even more vainly foolish than Mrs. Bennet herself.
Mrs. Bennet's later wishes for Lydia turn out to be reverse foreshadowing: Lydia does
not wind up happily married to anyone, in fact, she barely escapes social infamy when
she throws her affections on Wickham's mercy and runs away with him, neither with any
intention to marry in Gretna Green.

Another very famous
literary effect is the participatory, subjective narrator
of Austen's narrative mode. Through this literary effect, the engaging ironic
narrator is introduced. Fielding uses this effect in Tom
Jones and Austen employs it in a similar vein here: her narrator makes
comments about characters to enlarge our perception of their inner qualities. An example
of this occurs at the Meryton assembly in Chapter 3. Austen's narrator censures both the
townspeople and Darcy at one blow. The narrator shows the townspeople to be vain and
changeable while simultaneously showing Darcy to be proud and aloof. An objective
narrator, refraining from value judgements against characters, could not have so easily
accomplished this with one sentence:

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[Darcy's] manners gave a disgust which turned
the tide of his popularity; for he was discovered to be proud; to be above his company,
and above being pleased; and not all his large estate in Derbyshire could then save him
from having a most forbidding, disagreeable countenance, and being unworthy to be
compared with his friend [in the town's
opinion].