1. Pride And Prejudice 2005 Free Online
2. Pride And Prejudice 2005 Free
3. Pride And Prejudice 2005 Free Full
4. Watch Pride And Prejudice 2005 Free Online On Megavideo

1. Free sheet music for Piano. Made by hmscomp. Print and download in PDF or MIDI Dawn - Dario Marianelli. 'Dawn' from Pride and Prejudice (2005) Soundtrack.
2. Pride and Prejudice is an 1813 romantic novel of manners written by Jane Austen. The novel follows the character development of Elizabeth Bennet, the dynamic protagonist of the book, who learns about the repercussions of hasty judgments and eventually comes to appreciate the difference between superficial goodness and actual goodness.

Pride & Prejudice is a 2005 romance film directed by Joe Wright and based on Jane Austen's 1813 novel of the same name. The film depicts five sisters from an English family of landed gentry as they deal with issues of marriage, morality and misconceptions. Keira Knightley stars in the lead role of Elizabeth Bennet, while Matthew Macfadyen plays her romantic interest Mr. Darcy. Produced by Working Title Films in association with StudioCanal, the film was released on 16 September 2005 in the United Kingdom and Ireland and on 11 November in the United States.

Start your free trial to watch Pride and Prejudice and other popular TV shows and movies including new releases, classics, Hulu Originals, and more. It’s all on Hulu.

Screenwriter Deborah Moggach initially attempted to make her script as faithful to the novel as possible, writing from Elizabeth's perspective while preserving much of the original dialogue. Wright, who was directing his first feature film, encouraged greater deviation from the text, including changing the dynamics within the Bennet family. Wright and Moggach set the film in an earlier period and avoided depicting a 'perfectly clean Regency world', presenting instead a 'muddy hem version' of the time. It was shot entirely on location in England on a 15-week schedule. Wright found casting difficult due to past performances of particular characters. The filmmakers had to balance who they thought was best for each role with the studio's desire for stars. Knightley was well-known in part from her work in the Pirates of the Caribbean film series, while Macfadyen had no international name recognition.

The film's themes emphasise realism, romanticism and family. It was marketed to a younger, mainstream audience; promotional items noted that it came from the producers of 2001's romantic comedyBridget Jones's Diary before acknowledging its provenance as an Austen novel. Pride & Prejudice earned a worldwide gross of approximately $121 million, which was considered a commercial success. Pride & Prejudice earned a rating of 82% from review aggregator Metacritic, labeling it universally acclaimed. It earned four nominations at the 78th Academy Awards, including a Best Actress nomination for Knightley. Austen scholars have opined that Wright's work created a new hybrid genre by blending traditional traits of the heritage film with 'youth-oriented filmmaking techniques'.^[5]

• 3Production
• 4Major themes and analysis
• 5Release
• 6Reception
• 10References
  • 10.1Bibliography

Plot[edit]

During the 19th century, the Bennet family, consisting of Mr. Bennet and Mrs. Bennet and their five daughters—Jane, Elizabeth, Mary, Kitty, and Lydia—live on a working farm in rural England. As the Bennets have no sons, their farm is destined to be inherited by Mr. Bennet's cousin, Mr. Collins, so Mrs. Bennet is anxious to marry off her five daughters for their financial security.

Wealthy bachelor Charles Bingley has recently moved into a nearby estate. He is introduced to local society at an assembly ball, along with his haughty sister Caroline and reserved friend, the handsome and very rich Mr. Darcy. Bingley is enchanted with the gentle and beautiful Jane, while Elizabeth takes an instant dislike to Darcy after he coldly rebuffs her attempts at conversation and she later overhears him insulting her. When Jane becomes sick while visiting Bingley, Elizabeth goes to stay with her, verbally sparring with both Caroline and Darcy.

Later the Bennets are visited by Mr. Collins, a clergyman who is in awe of his patroness, Lady Catherine de Bourgh. During dinner the family has some fun at Mr. Collins' expense and afterward are treated to a reading by him of Fordyce's Sermons. After learning from Mrs. Bennet that Jane is expected to become engaged soon, Collins decides to pursue Elizabeth. Meanwhile, the charming Lieutenant Wickham of the newly-arrived militia captures the girls' attention; he wins Elizabeth's sympathy by telling her that Darcy cheated him of his inheritance.

At a ball at Bingley's estate, Elizabeth, startled by Darcy's abrupt appearance and request for a dance, accepts his offer but vows to her best friend Charlotte that she has 'sworn to loathe him for all eternity'. During the dance, she attacks him with witty sarcasm and Darcy responds in kind. At the same ball, Charlotte expresses concern to Elizabeth that Jane's behaviour towards Mr. Bingley is too reserved and that Bingley may not realise that she loves him.

The next day, Collins proposes to Elizabeth but she strongly declines. When Bingley unexpectedly returns to London, Elizabeth dispatches a heartbroken Jane to the city to stay with their aunt and uncle, the Gardiners, in hopes of re-establishing contact between Jane and Bingley. Later, Elizabeth is astonished to learn that her friend Charlotte will marry Collins to gain financial security and avoid remaining a spinster. Months later, Elizabeth visits the newly-wed Mr. and Mrs. Collins who live in a cottage at Rosings, Lady Catherine's manor estate; they are invited to dine at Rosings and there meet Darcy, who is Lady Catherine's nephew, and Colonel Fitzwilliam, Darcy's friend. Here, Darcy begins to show a greater interest in Elizabeth. The next day, not realizing that Jane is Elizabeth's sister, Colonel Fitzwilliam tells Elizabeth that Darcy had separated Bingley from Jane. Distraught, Elizabeth flees from a church service that all are attending, but Darcy follows her and proposes marriage.

He says he loves her 'most ardently' despite her 'lower rank'. Elizabeth refuses him, citing his treatment of Jane and Wickham; they argue fiercely, with Darcy explaining that he had been convinced that Jane did not return Bingley's love. Darcy insults Elizabeth's family, which makes Elizabeth angrier. She hurls biting words at him. Darcy leaves angry and heartbroken. That evening, he finds Elizabeth at the Collins cottage and presents her with a letter explaining his side of events. Darcy gives insight to Wickham's character and describes exploits including Wickham's attempted elopement with Darcy's 15-year-old sister, Georgiana. The letter concludes with Darcy explaining the reasons why he separated Bingley and Jane.

A couple of months later, the Gardiners take Elizabeth on a trip to the Peak District; their tour includes Darcy's estate, Pemberley. Elizabeth, who first asks to skip a visit to the estate, agrees to go with them, believing Darcy is in London. Elizabeth is impressed by Pemberley's wealth and beauty. During the visit, she accidentally runs into Darcy who has arrived home early. He later invites her and the Gardiners to dine the next day. Darcy's manners have softened considerably, and Georgiana, having heard flattering things about her from her brother, tells Elizabeth that she already likes her.

Later in the day, when Elizabeth learns that her youngest sister Lydia has run away with Wickham, she tearfully blurts out the news to Darcy and the Gardiners before returning home. Her family expects social ruin for having a disgraced daughter, but over a week later they are relieved to hear that Mr. Gardiner had discovered the pair in London and that they had married. Lydia later lets slip to Elizabeth that Darcy was the one who found them and paid for their marriage.

Bingley and Darcy suddenly return to Netherfield; Bingley proposes to Jane and she accepts. The same evening, Lady Catherine unexpectedly visits Elizabeth, insisting that she renounce Darcy. Elizabeth refuses the request and, unable to sleep, walks on the moor at dawn. There, she meets Darcy, also unable to sleep after hearing of his aunt's behaviour. He admits his continued love and Elizabeth accepts his proposal.

Mr. Bennet gives his consent after Elizabeth assures him of her love for Darcy. In the U.S. release of the film, an additional last scene shows the newlyweds outside at Pemberley happy together.

Cast[edit]

• Keira Knightley as Elizabeth Bennet
• Matthew Macfadyen as Mr Darcy
• Brenda Blethyn as Mrs Bennet
• Donald Sutherland as Mr Bennet
• Tom Hollander as Mr Collins
• Rosamund Pike as Jane Bennet
• Carey Mulligan as Kitty Bennet
• Jena Malone as Lydia Bennet
• Talulah Riley as Mary Bennet
• Judi Dench as Lady Catherine de Bourgh
• Simon Woods as Charles Bingley
• Tamzin Merchant as Georgiana Darcy
• Claudie Blakley as Charlotte Lucas
• Kelly Reilly as Caroline Bingley
• Rupert Friend as George Wickham
• Cornelius Booth as Colonel Fitzwilliam
• Penelope Wilton as Mrs Gardiner
• Peter Wight as Mr Gardiner
• Meg Wynn Owen as Mrs Reynolds
• Sinead Matthews as Betsy

Production[edit]

Conception and adaptation[edit]

As with several recent Jane Austen adaptations, Pride & Prejudice was an Anglo-American collaboration, between British studio Working Title Films (in association with French company StudioCanal) and its American parent company Universal Studios.^[6][7] Working Title at the time was known for mainstream productions like Bridget Jones's Diary and Love Actually that drew international audiences,^[8] rather than films in the historical drama genre.^[9] Its co-chairman Tim Bevan explained that the studio wanted to 'bring Austen's original story, concentrating on Lizzie, back in all its glory to the big screen for audiences everywhere to enjoy'.^[10] Given a 'relatively inexpensive' budget of £22 million ($28 million),^[2][3] the film was expected to excel at the box office, particularly based on the commercial successes of Romeo + Juliet (1996) and Shakespeare in Love (1998) as well as the resurgence of interest in Austen's works.^[11][12]

Given little instruction from the studio, screenwriter Deborah Moggach spent over two years adapting Pride and Prejudice for film. She had sole discretion with the early script, and eventually wrote approximately ten drafts.^[14][15] Realising it held 'a perfect three-act structure',^[15] Moggach attempted to be as faithful to the original novel as possible, calling it 'so beautifully shaped as a story – the ultimate romance about two people who think they hate each other but who are really passionately in love. I felt, 'If it's not broken, don't fix it.'^[10] While she could not reproduce the novel's 'fiercely wonderful dialogue in its entirety', she attempted to keep much of it.^[10]

Moggach's first script was closest to Austen's book, but later versions trimmed extraneous storylines and characters.^[15] Moggach initially wrote all scenes from Elizabeth's point of view in keeping with the novel; she later set a few scenes from the male perspective, such as when Bingley practices his marriage proposal, in order to 'show Darcy and Bingley being close' and to indicate Darcy was a 'human being instead of being stuck up'.^[14] Small details were inserted that acknowledged wider events outside of the characters' circle, such as those then occurring in France.^[10] While Moggach is the only screenwriter credited for the film, playwright Lee Hall also made early additions to the script.^[16][17]

Television director Joe Wright was hired in early 2004,^[17] making Pride & Prejudice his feature film directorial debut.^[18] He was considered a surprising choice for a film in the romancedrama genre due to his past work with social realism.^[19][20] Wright's body of work had impressed the producers,^[10] who were looking for a fresh perspective;^[8] they sent him a script despite the fact that Wright had not read the novel.^[10][21] He commented that at the time, 'I didn't know if I was really all that interested; I thought I was a little bit more mainstream than this, a bit more edgy. But then I read the script and I was surprised I was very moved by it'.^[22] He next read the novel, which he called 'an amazing piece of character observation and it really seemed like the first piece of British Realism. It felt like it was a true story; had a lot of truth in it about understanding how to love other people, understanding how to overcome prejudices, understanding the things that separate us from other people ... things like that.'^[22]

— Director Joe Wright commenting on the ages of the actors in the 1940 adaptation^[22]

The only adaptation of Pride and Prejudice Wright had seen was the 1940 production, which was the last time the novel had been adapted into a feature film. The director purposely did not watch the other productions, both out of fear he would inadvertently steal ideas and because he wanted to be as original as possible.^[22] He did, however, watch other period films, including Ang Lee's Sense and Sensibility, Roger Michell's Persuasion, and John Schlesinger's Far from the Madding Crowd; Wright cited this last film as the greatest influence on his own adaptation, calling it 'very real and very honest – and it is quite romantic as well'.^[23] In trying to create an atmosphere of charged flirtation, the director also gained inspiration from teen romance films such as Sixteen Candles^[24] and The Breakfast Club.^[25]

Wright's hire occurred while Moggach was on her third draft.^[15] Despite her desire to work closely with Austen's dialogue, Wright made an effort to not 'be too reverential to [it]. I don't believe people spoke like that then; it's not natural.'^[21] While a few scenes, such as the discussion over accomplished women, aligned closely with the author's original dialogue, many others 'substituted instead a mixture of modern idiom and archaic-sounding sentence structure'.^[16] One alteration concerned politeness; Wright noted that while Austen's work had characters waiting before speaking, he believed that 'particularly in big families of girls, everyone tends to speak over each other, finishing each other's sentences, etc. So I felt that the Bennet family's conversations would be overlapping like that.'^[10]Sense and Sensibility actress and screenwriter Emma Thompson aided in script development, though she opted to be uncredited. She advised the nervous director about adapting Austen for the screen and made dialogue recommendations, such as with parts of the Collins-Charlotte storyline.^[26][27]

Citing the year Austen first wrote a draft of the novel,^{[note 1]} Wright and Moggach changed the period setting from 1813 (the novel's publication date) to the late eighteenth century; this decision was partly because Wright wanted to highlight the differences within an England influenced by the French Revolution,^[10][21] as he was fascinated that it had 'caused an atmosphere among the British aristocracy of fear'.^[23] Additionally, Wright chose the earlier period because he hated dresses with an empire silhouette, which were popular in the later period.^[10][21] The decision helped make the film visually distinct from other recent Austen adaptations.^[24] In comparison to the popular 1995 BBC version, which featured Colin Firth and Jennifer Ehle, producer Paul Webster desired to make an adaptation that 'doesn't conform to the television drama stereotypes of a perfect clean Regency world'.^[10] Wright and Moggach opted for a 'muddy hem version' of Longbourn, presenting a more rural setting than in previous adaptations^[29][14] out of a desire to depict the Bennets in 'very close proximity to their rural life'^[21] and to emphasise their relative poverty.^[30] While the degree of poverty was criticised by some critics, Wright felt that the 'mess adds to the drama of the predicament that the family were in', and helps contrast the Bennets, Darcys, and Bingleys.^[31]

Casting[edit]

Wright found casting of the film to be difficult because he was very particular about 'the types of people [he] wanted to work with'.^[22] While interviewing to direct, he insisted that the actors match the ages of the characters in the novel.^[23] Wright specifically cast actors that had rapport on and off screen, and insisted that they partake in three weeks of rehearsal in improvisation workshops.^[15] Wright also had to balance who he thought was best for each role with what the producers wanted – mainly a big name attraction.^[22] Though Wright had not initially pictured someone as attractive as English actress Keira Knightley for the lead role of Elizabeth Bennet,^[19] he cast her after realising that the actress 'is really a tomboy [and] has a lively mind and a great sense of humour'.^[10] Knightley at the time was known for Bend It Like Beckham and the Pirates of the Caribbean film series.^[24] She had been an Austen fan since age 7, but initially feared taking the role out of apprehension that she would be doing 'an absolute copy of Jennifer Ehle's performance', which she deeply admired.^[32] Knightley believed Elizabeth is 'what you aspire to be: she's funny, she's witty and intelligent. She's a fully rounded and very much loved character.'^[33] For the period, the actress studied etiquette, history and dancing but ran into trouble when she acquired a short haircut while preparing for her role in the bounty hunter film Domino.^[32]

Webster found the casting of Darcy especially hard due to the character's iconic status and because 'Colin Firth cast a very long shadow' as the 1995 Darcy.^[34] Wright later commented that his choice of Knightley allowed him to cast comparative unknown Matthew Macfadyen, something that would have been impossible had he chosen a less well-known actress for Elizabeth Bennet.^[22] Macfadyen at the time was known for his role in the British television spy series Spooks,^[34] but had no recognition internationally.^[24] A fan of the actor's television work,^[23] Wright called Macfadyen 'a proper manly man ... I didn't want a pretty boy kind of actor. His properties were the ones I felt I needed [for Darcy]. Matthew's a great big hunk of a guy.'^[22] Macfadyen did not read the novel before filming, preferring to rely solely on the script.^[35]

According to Wright, Rosamund Pike was cast as the eldest sister 'because [he] knew she wasn't going to play her as a nice, simple person. Jane has a real interior world, she has her heart broken.'^[19] Despite being Pike's ex-boyfriend, Simon Woods was cast as her romantic interest Mr Bingley.^[19] The other three Bennet sisters were played by Talulah Riley, Carey Mulligan, and Jena Malone, the only American actress among them.^[10] Wright believed Malone to have a 'pretty faultless English accent'.^[36] Mulligan heard about the casting call at a dinner hosted by Julian Fellowes, to whom she had written a letter after failing to get into drama school; she won the part after three auditions.^[37][38]Tamzin Merchant appears as Georgiana Darcy; she was hired despite having no previous acting experience after she wrote a letter to the casting director.^[10] In addition to Merchant, Pride & Prejudice was the feature film debut of both Mulligan^[39] and Riley.^[40]

Donald Sutherland reminded Wright of his own father and was cast as the Bennet patriarch;^[36] Wright thought the actor possessed the 'strength to handle those six women'.^[19]Brenda Blethyn was hired to play Mrs Bennet, whom Moggach believed to be the unsung heroine of the film;^[41] Wright explained that it was 'a tricky part [to fill], as she can be very annoying; you want to stop her chattering and shrieking. But Brenda has the humour and the heart to show the amount of love and care Mrs Bennet has for her daughters.'^[10] Wright convinced veteran actress Judi Dench to join the cast as Lady Catherine de Bourgh by writing her a letter that read 'I love it when you play a bitch. Please come and be a bitch for me.'^[5][19] Dench had only one week available to shoot her scenes, forcing Wright to make them his first days of filming.^[26][42]

Costume design[edit]

Known for her BAFTA award-winning work on the 2004 film Vera Drake, Jacqueline Durran was hired as the costume designer. She and Wright approached his film 'as a difficult thing to tackle' because of their desire to distinguish it from the television adaptation. Due to Wright's dislike of the high waistline, Durran focused on later eighteenth century fashions that often included a corseted, natural waistline rather than an empire silhouette (which became popular after the 1790s).^[43] A generational divide was established: the older characters dress in mid-eighteenth century fashions while the young wear 'a sort of proto-Regency style of hair and dress'.^[44] Mrs Bennet was of the older generation, and her dresses appeared to have been mended.^[35]

Durran's costumes also helped emphasise social rank among the different characters;^[45] Caroline Bingley for instance is introduced in an empire silhouetted dress, clothing that would have then been at the height of fashion.^[46] During her interview, Durran opined that all the women wear white at the Netherfield Ball due to its contemporary popularity, an idea that Wright credits as his reason for hiring her.^[47] All of the costumes were handmade, as clothing was at the time.^[35] However, costumes and hairstyles were adjusted to appeal to contemporary audiences, sacrificing historical accuracy.^[48]

To help differentiate the Bennet sisters, Durran viewed Elizabeth as the 'tomboy', clothing her in earthy colours because of her love of the countryside.^[43] For the other sisters, Durran remarked, 'Jane was the most refined and yet it's still all a bit slapdash and homemade, because the Bennets have no money. One of the main things Joe wanted was for the whole thing to have a provincial feel. Mary is the bluestocking: serious and practical. And then Lydia and Kitty are a bit Tweedledum and Tweedledee in a kind of teenage way. I tried to make it so that they'd be sort of mirror images. If one's wearing a green dress, the other will wear a green jacket; so you always have a visual asymmetry between the two.'^[43] In contrast to the 1940 film, the 2005 production displayed the Bennet sisters in worn-down but comfortable dresses^[30] that allowed the actors better moveability.^[35]

Mr Darcy's costume went through a series of phases. Durran noted:

'The first time we see him he's at Meriton [sic], where he has a very stiffly tailored jacket on and he's quite contained and rigid. He stays in that rigid form for the first part of the film. By the time we get to the proposal that goes wrong in the rain, we move to a similar cut, but a much softer fabric. And then later he's got a completely different cut of coat, not interlined and he wears it undone. The nth degree is him walking through the mist in the morning, completely undressed by 18th-century standards. It's absolutely unlikely, but then Lizzie's in her nightie, so what can you say?'^[43]

Filming[edit]

Moggach believed the novel was very filmable, 'despite it containing no description and being a very unvisual book'.^[15] To Wright, many other period films had relied on paintings for inspiration rather than photographs, causing them to appear unreal. He thus used 'Austen's prose [to give him] many visual references for the people in the story', including using close-up shots of various characters.^[10] The filmmakers also changed several scenes to more romantic locales than those in the book. For instance, in the film, Darcy first proposes outdoors in a rainstorm at a building with neoclassical architecture; in the book, this scene takes place inside a parsonage. In the film, his second proposal occurs on the misty moors as dawn breaks;^[50][51] in the book, he and Elizabeth are walking down a country lane in broad daylight.^[52] Wright has acknowledged that 'there are a lot of period film clichés; some of them are in the film and some are not, but for me it was important to question them'.^[10]

During script development, the crew spent four to five months scouting locations,^[35] creating a 'constant going back and forth between script and location'.^[15] The film was shot entirely on location within England on an 11-week schedule^[6][10] during the 2004 summer.^[54] Co-producer Paul Webster noted that 'it is quite unusual for a movie this size to be shot entirely on location. Part of Joe [Wright]'s idea was to try to create a reality which allows the actors to relax and feel at one with their environment.'^[10] Working under production designerSarah Greenwood and set decoratorKatie Spencer, the crew filmed on seven estates in six different counties. Because 'nothing exists in the United Kingdom that is untouched by the twenty-first century', many of the sites required substantial work to make them suitable for filming.^[55] Visual effects company Double Negative digitally restored several locations to make them contemporaneous; they eradicated weeds, enhanced gold plating on window frames, and removed anachronisms such as gravel driveways and electricity pylons. Double Negative also developed the typeface used for the film's title sequence.^[56]

Production staff selected particularly grand-looking residences to better convey the wealth and power of certain characters.^[57] Locations included Chatsworth House in Derbyshire, the largest privately held country house in England with its spectacular rooms frescoed by Antonio Verrio. Chatsworth and Wilton House in Salisbury stood in for Pemberley.^[18][49] After a search of various sites in England, the moated manor house Groombridge Place in Kent was chosen for Longbourn.^[58] Location manager Adam Richards believed Groombridge had an 'immense charm' that was 'untouched by post-17th Century development'.^[59] Reflecting Wright's choice of realism, Groombridge's interior was designed to be 'shabby chic'.^[60] Representing Netherfield Park was the late-18th century site Basildon Park in Berkshire, leading it to close for seven weeks to allow time for filming.^[61]Burghley House in Cambridgeshire^[18][53] stood in for Rosings, while the adjacent town of Stamford served as Meryton. Other locations included Haddon Hall (for The Inn at Lambton), the Temple of Apollo and Palladian Bridge of Stourhead (for the Gardens of Rosings), Hunsford (for Collins' parsonage and church) and Peak District (for Elizabeth and the Gardiners' tour).^[49] The first dance scenes were shot on a set in a potato warehouse in Lincolnshire with the employment of local townspeople as extras;^[15] this was the only set the crew built that was not already in existence.^[62]

Music[edit]

Italian composer Dario Marianelli wrote the film score, the first of his four collaborations with Wright. Their relationship began when Paul Webster, who had worked with Marianelli on the 2001 film The Warrior, introduced him to Wright. In their first conversation, Marianelli and Wright discussed the early piano sonatas of Ludwig van Beethoven, which 'became a point of reference' and 'starting point' for the original score.^[63] In addition to Beethoven, pieces such as 'Meryton Townhall' and 'The Militia Marches In' (featuring the flute) were inspired by the film's period,^[64] with the intention that they could conceivably have been heard during that time. 'Meryton Townhall' and 'Another Dance' contained actual dance cues that were fitting for the late eighteenth century. According to music critic William Ruhlmann, Marianelli's score had a 'strong Romantic flavour to accompany the familiar romantic plot'.^[65]

Multiple scenes feature actors playing pianos, forcing Marianelli to complete several of the pieces before filming began. According to him, 'Those pieces already contained the seeds of what I developed later on into the score, when I abandoned historical correctness for a more intimate and emotional treatment of the story'.^[63] Marianelli was not present when the actors played his music due to the birth of his second daughter.^[63] The soundtrack featured French pianist Jean-Yves Thibaudet, whom Wright considered one of the greatest piano players in the world.^[66] Thibaudet was accompanied by the English Chamber Orchestra. The soundtrack ultimately contained seventeen instrumental tracks of music organised in a different way from the film.^[64]

Editing[edit]

— Deborah Moggach on editing the film^[15]

In contrast to the five-hour BBC adaptation,^[67] Wright compressed his film into two hours and nine minutes of screen time.^[68] He remarked that the film is 'obviously about Elizabeth and Darcy, following them and anything that detracts or diverts you from that story is what you have to cut'.^[22] Some of the most notable changes from the original book include time compression of several major sequences, including the departure of Wickham and the militia, Elizabeth's visit to Rosings Park and Hunsford Parsonage, Elizabeth's visit to Pemberley, Lydia's elopement and subsequent crisis; the elimination of several supporting characters, including Mr and Mrs Hurst, Mr and Mrs Phillips,^[14] Lady and Maria Lucas, Mrs Younge, several of Lydia's friends (including Colonel and Mrs Forster) and various military officers and townspeople;^[67] and the elimination of several sections in which characters reflect or converse on events that have recently occurred—for example, Elizabeth's chapter-long change of mind after reading Darcy's letter.^[69]

Moggach and Wright debated how to end the film, but knew they did not want to have a wedding scene 'because we didn't want Elizabeth to come off as the girl who became a queen at this lavish wedding, or for it to be corny'.^[14] Shortly before the North American release, the film was modified to include a final scene (not in the novel) of the married Darcys enjoying a romantic evening and passionate kiss at Pemberley^[70][71] in an attempt to attract sentimental viewers;^[14] this became a source of complaint for the Jane Austen Society of North America (JASNA). After watching a preview of the film before its wide release, former JASNA president Elsa Solender commented, 'It has nothing at all of Jane Austen in it, is inconsistent with the first two-thirds of the film, insults the audience with its banality and ought to be cut before release'.^[72] It had been removed from the British version after preview audiences found it unintentionally humorous;^[73] however, later audiences complained that they were excluded from viewing this version, causing the film to be re-released in the UK and Ireland 10 weeks after the original UK premiere date.^[74][75] The original British version ended with Mr Bennet's blessing upon Elizabeth and Darcy's union,^[5] thus circumventing the last chapter in the novel, which summarises the lives of the Darcys and the other main characters over the next several years.^[76]

Major themes and analysis[edit]

Romanticism and realism[edit]

Film, literary, and Austen scholars noted the appearance of romance and romanticism within Pride & Prejudice, especially in comparison to previous adaptations.^[77] Sarah Ailwood marked the film as 'an essentially Romantic interpretation of Austen's novel', citing as evidence Wright's attention to nature as a means to 'position Elizabeth and Darcy as Romantic figures ... Wright's Pride & Prejudice takes as its central focus Austen's concern with exploring the nature of the Romantic self and the possibilities for women and men to achieve individual self-fulfillment within an oppressive patriarchal social and economic order.'^[78] Likewise, Catherine Stewart-Beer of Oxford Brookes University called Elizabeth's presence on the Derbyshire cliff a 'stunning, magical evocation of Wright's strong stylistic brand of Postmodern Romanticism', but found this less like Austen and more reminiscent of Emily Brontë's Wuthering Heights.^[79] In her analysis, University of Provence scholar Lydia Martin concluded that the 'Romantic bias of the film is shown through the shifts in the characters' relationships, the soundtrack and the treatment of landscape'.^[80]

Realism is a prominent aspect of the film, a theme confirmed by Wright in interviews as well as the DVD audio commentary.^[81] In a 2007 article, Ursinus College film studies professor Carole Dole argued that Pride & Prejudice is 'a hybrid that embraces both an irreverent realism to which younger audiences are accustomed (and which reflects the director's realist aesthetic) and the classic heritage film's reverence for country houses, attractive landscapes and authentic period detail'. Such 'irreverent realism' included the depiction of Longbourn as a working farm complete with chickens, cattle and pigs; as Dole explains, 'The agricultural realities of 1790s England are equally evident in the enclosed yard with barn and hay where Lizzie twirls barefoot over the mud on a rope swing'. Referring to recent adaptations such as 1999's gritty Mansfield Park, Dole cited Pride & Prejudice as evidence that the heritage film is still around but has 'been transformed into a more flexible genre'.^[5] Jessica Durgan agreed with this assessment, writing that the film 'simultaneously reject[s] and embrac[es] heritage to attract a larger audience'.^[8]

Family[edit]

Raised with three sisters, Moggach was particularly interested in the story's family dynamics.^[10]Brock University professor Barbara K. Seeber believed that in contrast to the novel, the 2005 adaptation emphasises the familial over the romantic. Evidence of this can be seen in how Pride & Prejudice 'significantly recast the Bennet family, in particular its patriarch, presenting Mr Bennet as a sensitive and kind father whose role in the family's misfortunes is continually downplayed.'^[82] Seeber further observed that the film is 'the first to present Mrs Bennet in a sympathetic light', with Mr Bennet displayed as 'an attentive husband as well as a loving father.'^[82]

Stewart-Beer and Austen scholar Sally B. Palmer noted alterations within the depiction of the Bennet family;^[83] Stewart-Beer remarked that while their family home 'might be chaotic, in this version it is, at heart, a happy home—much happier and much less dysfunctional, than Austen's original version of Longbourn ... For one, Mr and Mrs Bennet actually seem to like each other, even love each other, a characterisation which is a far cry from the source text.'^[79] Producer Paul Webster acknowledged the familial theme in the DVD featurette 'A Bennet Family Portrait', remarking 'Yes, it's a great love story between Elizabeth Bennet and Fitzwilliam Darcy, but underpinning it all is the kind of love that runs this family.'^[82]

Depiction of Elizabeth Bennet[edit]

Wright intended for the film to be 'as subjective as possible' in being from Elizabeth's perspective; the audience first glimpses Darcy when she does.^[84] This focus on Elizabeth features some dramatic changes from the novel. Knightley's Elizabeth has an 'increasingly aloof and emotionally distant' relationship with her family. Evidence of this can be seen with Elizabeth's gradual alienation from Jane as the film progresses; this is in contrast to the book, where Elizabeth confides more of her feelings to Jane after difficult events.^[79] Wright wanted to create a 'real' relationship between the two sisters and have them grow apart, as he thought the book depicted them as too 'syrupy.'^[85] Moggach's intent was for Elizabeth to 'keep secrets to herself. They are a great burden to her ... As she keeps all this to herself, we feel for her more and more. The truest comedy, I believe, is born from pain.'^[10]

In her 'feisty, impassioned' interactions with Darcy and 'rebellious refusal to 'perform' for Lady Catherine, Stewart-Beer sees Knightley's depiction as 'far removed from Austen's original Elizabeth, who has a greater sense of grounded maturity, even though both Elizabeths have an occasional inclination to fluster, fun and giggles.'^[79] According to George Washington University professor Laurie Kaplan, while Wright's focus on Elizabeth is consistent with the novel, the screenplay removed her line of self-recognition: 'Till this moment, I never knew myself'. Kaplan characterises the sentence as Elizabeth's 'most important', and believes its deletion 'violates not only the spirit and the essence of Austen's story but the viewer's expectations as well.'^[86]

Release[edit]

Marketing[edit]

After a string of Jane Austen semi-adaptions in the late 1990s and early 2000s,^{[note 2]}Pride & Prejudice was positioned to take audiences 'back into the world of period drama and what many saw as a more authentic version of Austen.'^[7] While the novel was known to audiences, the large number of related productions required the film to distinguish itself.^[88] It was marketed to attract mainstream, young viewers,^[89] with one observer referring to it as 'the ultimate chick-flick romance' and 'more commercial than previous big-screen Austen adaptations.'^[90] Another wrote that it brings 'millennial girlhood to the megaplex ... If Ehle's Lizzie is every forty-, or fifty-something's favorite independent, even 'mature,' Austen heroine, Knightley is every twenty-something's sexpot good girl.'^[91] An ampersand replaced the word 'and' in the film title, similar to the 1996 postmodern film Romeo + Juliet.^[5]

Already a star at the time of release, Knightley's appearance in the film was emphasised by featuring her in all promotional materials (similar to Colin Firth's prominent appearance in the 1995 adaptation).^[92] Several commentators likened the main poster of Pride & Prejudice to that of 1995's Sense and Sensibility, which was seen as an attempt to attract the same demographic.^[13] Advertising noted that the film came 'from the producers of Bridget Jones's Diary', a 2001 romantic comedy film, before mentioning Austen.^[5] Leading up to the release, fans were allowed to download pictures and screensavers online, which emphasised the differences between Pride & Prejudice and previous adaptations. Lydia Martin wrote that in contrast to past Pride and Prejudice productions, marketing materials downplayed the 'suggested antagonism between the heroes' in favour of highlighting a 'romantic relationship', as can be seen with the positioning of the characters as well as with the tagline, 'Sometimes the last person on earth you want to be with is the one you can't be without.'^[80]

Box office[edit]

On 11 September 2005, Pride & Prejudicepremiered at the Toronto International Film Festival as a special Gala Presentation.^[93][94] The film was released in cinemas on 16 September in the United Kingdom and Ireland.^[95][96] It achieved the number one spot in its first week, earning £2.5 million ($4.6 million) while playing on 397 screens.^[97][98][99] The film stayed at the top for two more weeks, earning by then a total of over £9 million at the UK box office. It was featured on 412 screens at its widest domestic release.^[99]

On 11 November 2005, the film debuted in the United States with an opening weekend of $2.9 million on 215 screens.^[100] Two weeks later, it played on 1,299 screens and box office returns increased to $7.2 million; the film left cinemas the week of 24 February 2006 with a total US gross of $38,405,088.^[4] Jack Foley, the president of distribution of Focus Features, the film's US distributor, attributed Pride & Prejudice's success in America to Austen's appeal to 'the boomer market' and its status as a known 'brand'.^[101]

Pride & Prejudice was released in an additional fifty-nine countries between September 2005 and May 2006 by United International Pictures.^[98] With a worldwide gross of $121,147,947, it was the 72nd highest grossing film of 2005 in the US and was the 41st highest internationally.^[4]

Home media[edit]

In the US and UK, Universal Studios Home Entertainment released the standard VHS and DVD in February 2006 for both widescreen and fullframe; attached bonus features included audio commentary by director Joe Wright, a look into Austen's life and the ending scene of Elizabeth and Darcy kissing.^[68][4][102] On 13 November 2007, Universal released the deluxe edition DVD to coincide with the theatrical arrival of Wright's 2007 film Atonement. The deluxe edition included both widescreen and fullscreen features, the original soundtrack CD, a collectible book and booklet, as well as a number of special features not included in the original DVD.^[103] In the US, a Blu-ray version of the film was released by Universal on 26 January 2010, which also contained bonus features.^[104]

Reception[edit]

Pride & Prejudice was only the second film version after 'the famed, but oddly flawed, black-and-white 1940 adaptation, starring Greer Garson and Laurence Olivier',^[105] and until 2005, The Times considered the 1995 television adaptation 'so dominant, so universally adored, [that] it has lingered in the public consciousness as a cinematic standard.'^[105] Wright's film consequently met with some scepticism from admirers of Austen, especially in relation to plot changes and casting choices.^[106]'Any resemblance to scenes and characters created by Miss Austen is, of course, entirely coincidental,' mocked The New Yorker's film critic.^[107] Given Austen's characters were landed gentry, especially criticised was the re-imagining of the Bennetts as country bumpkins, lacking even the basics of table manners, and their home 'a barnyard'.^[108]

Comparing six major adaptations of Pride and Prejudice in 2005, The Daily Mirror gave the only top marks of 9 out of 10 to the 1995 serial and the 2005 film, leaving the other adaptations behind with six or fewer points.^[109] On the review aggregation website Rotten Tomatoes, the film has a 'certified fresh' approval rating of 86% based on reviews from 173 critics, with an average rating of 7.7/10. The website's consensus reads: 'Sure, it's another adaptation of cinema's fave Jane Austen novel, but key performances and a modern filmmaking sensibility make this familiar period piece fresh and enjoyable.'^[110]Metacritic reported an average score of 82 out of 100, based on 37 reviews and classified the film as 'universally acclaimed'.^[111]

Critics claimed the film's time constraints did not capture the depth and complexity of the television serials^[18] and called Wright's adaptation 'obviously [not as] daring or revisionist' as the serial.^[112] JASNA president Joan Klingel Ray preferred the young age of Knightley and Macfadyen, saying that Jennifer Ehle had formerly been 'a little too 'heavy' for the role.'^[113]Peter Bradshaw of The Guardian, while praising Knightley for an outstanding performance 'which lifts the whole movie', considered the casting of the leads 'arguably a little more callow than Firth and Ehle.' He does add that 'Only a snob, a curmudgeon, or someone with necrophiliac loyalty to the 1995 BBC version with Colin Firth and Jennifer Ehle could fail to enjoy [Knightley's] performance.'^[112] At the time, BBC film critic Stella Papamichael considered it Knightley's 'best performance yet.'^[95] However, The Daily Telegraph critic thought Knightley's acting skills slight, in her view, 'Someone who radiates little more than good-mannered perkiness', and that between her and Macfadyen there was 'little spark'.^[114]

Critics were divided about Macfadyen's portrayal of Darcy, expressing pleasant surprise,^[113][115] dislike for his lack of gradual emotional shift as in the novel,^[113][116] and praise for his matching the insecure and sensitive personality of the book character better than Firth.^[18]

Critics also drew attention to other aspects of the film. Writing for The Sydney Morning Herald, Sandra Hall criticised Wright's attention to realism for being 'careless with the customs and conventions that were part of the fabric of Austen's world.'^[117] In another review, Time Out magazine lamented the absence of Austen's 'brilliant sense of irony', remarking that the film's 'romantic melodrama's played up at the expense of her razor-sharp wit.'^[116] More positively, Derek Elley of Variety magazine praised Wright and Moggach for 'extracting the youthful essence' of the novel while also 'providing a richly detailed setting' under Greenwood and Durran's supervision.^[6] Equally pleased with the film was the San Francisco Chronicle's Ruthe Stein, who wrote that Wright made a 'spectacular feature film debut' that is 'creatively reimagined and sublimely entertaining'.^[118] Claudia Puig of USA Today called it 'a stellar adaptation, bewitching the viewer completely and incandescently with an exquisite blend of emotion and wit.'^[119]

Accolades[edit]

Impact and legacy[edit]

Wright's adaptation failed to have the same cultural impact as the 1995 serial and has since attracted sharply-divided opinions.^{[92][131][132]} However, even three years after the release, Knightley was still associated with Elizabeth Bennet among a generation of young viewers who had not seen the 1995 production.^[133] Given the varied opinions about the film, JASNA published an edited special issue of its online journal Persuasions On-Line in 2007 with the collaboration of nineteen Austen scholars from six countries; the intent was to foster discussion and stimulate scholarly analysis. JASNA had done this only once before, for the 1996 film Emma.^{[92][131][134]}

Pride & Prejudice impacted later productions in the costume drama and heritage film genres. Literary critics protested that Wright's adaptation effectively 'popularized Austen's celebrated romance and brought her novel to the screen as an easy visual read for an undemanding mainstream audience.'^[135] Carole Dole noted that the film's success 'only made it more likely that future adaptations of Austen will feature, if not necessarily mud, then at least youthful and market-tested performers and youth-oriented filmmaking techniques balanced with the visual pleasures of the heritage film.' She cited Anne Hathaway in the 2007 film Becoming Jane as an example.^[5] Jessica Durgan added that Pride & Prejudice conceived a new hybrid genre by rejecting the visual cues of the heritage film, which attracted 'youth and mainstream audiences without alienating the majority of heritage fans.'^[8]

Production of Pride & Prejudice began Wright's relationship with Working Title Films, the first of four collaborations.^[136] Many members of the film's cast and crew joined Wright in his later directorial efforts. For his adaptation of Atonement, which he viewed as 'a direct reaction to Pride & Prejudice',^[137] Wright hired Knightley, Blethyn, Marianelli, Thibaudet, Greenwood, and Durran.^[138]Atonement employed themes similar to Austen's, including the notion of a young writer living in 'an isolated English country house' who 'mixes up desires and fantasies, truths and fiction.'^[73] Wright's 2009 film The Soloist included Hollander, Malone, and Marianelli,^{[139][140][141]} while Hollander was also featured in Hanna (2011).^[142] Wright's 2012 adaptation of Anna Karenina features Knightley, Macfadyen, Marianelli, Durran, and Greenwood and is produced by Bevan, Eric Fellner, and Webster.^[136]

On 11 December 2017, Netflix announced that a person from Chile watched the film 278 times during the entire year.^[143] It was later reported that the person is a 51-year old woman, who declared herself as 'obssesed' to the film and sees Elizabeth Bennet as 'a feminist icon'.^[144]

See also[edit]

Notes[edit]

1. ^Austen wrote a draft of First Impressions (later renamed Pride and Prejudice) between October 1796 and August 1797.^[28]
2. ^Recent Austen adaptations included Mansfield Park (1999), Bridget Jones's Diary (2001), Pride & Prejudice: A Latter-Day Comedy (2003), and Bride and Prejudice (2004).^[87]

References[edit]

1. ^'Pride & Prejudice (U)'. United International Pictures. British Board of Film Classification. 25 July 2005. Archived from the original on 4 October 2013. Retrieved 1 October 2013.
2. ^ ^abBritish Film Institute.
3. ^ ^abThe Numbers.
4. ^ ^abcdBox Office Mojo Profile.
5. ^ ^abcdefghDole 2007.
6. ^ ^abcElley 2005.
7. ^ ^abHigson 2011, p. 170.
8. ^ ^abcdDurgan 2007.
9. ^Troost 2007, p. 86.
10. ^ ^{abcdefghijklmnopqrst}Focus Features Production 2005.
11. ^Andrew 2011, p. 31.
12. ^Higson 2011, p. 166.
13. ^ ^abCartmell 2010, p. 85.
14. ^ ^abcdefSpunberg 2011.
15. ^ ^abcdefghiHanson 2005.
16. ^ ^abWells 2007.
17. ^ ^abDawtrey 2004.
18. ^ ^abcdeHolden 2005.
19. ^ ^abcdefHoggard 2005.
20. ^Higson 2011, p. 171.
21. ^ ^abcdeDeGennaro 2005.
22. ^ ^abcdefghiFetters.
23. ^ ^abcdHaun 2005.
24. ^ ^abcdAusten 2008.
25. ^Wright 2005, 10:00–10:40.
26. ^ ^abHewitt 2005.
27. ^Wright 2005, 55:30–55:44.
28. ^Silvers & Olsen 2011, p. 191.
29. ^Cartmell 2010, p. 11.
30. ^ ^abCartmell 2010, p. 86.
31. ^Woodworth 2007.
32. ^ ^abRojas Weiss 2005.
33. ^Lee 2005.
34. ^ ^abAlberge 2004.
35. ^ ^abcdeThe Daily Mail 2005.
36. ^ ^abWright 2005, 4:10–4:35.
37. ^Hall 2010.
38. ^Sanderson, Challand & Graham 2010.
39. ^Roberts 2010.
40. ^Sutherland 2005, 3:10–3:20.
41. ^Cartmell 2010, p. 63.
42. ^Wright 2005, 1:00:05–1:00:15.
43. ^ ^abcdRobey 2006.
44. ^Tandy 2007.
45. ^Wright 2005, 23:40–24:00.
46. ^Wright 2005, 7:30–7:40.
47. ^Wright 2005, 35:10–35:30.
48. ^Demory 2010, p. 134.
49. ^ ^abcFocus Features Locations 2005.
50. ^Chan 2007.
51. ^Gymnich, Ruhl & Scheunemann 2010, p. 40.
52. ^Austen 2006, pp. 392–96.
53. ^ ^abCartmell 2010, p. 89.
54. ^Knightley 2005, 1:25–1:30.
55. ^Whitlock 2010, p. 304.
56. ^Desowitz 2005.
57. ^Silvers & Olsen 2011, p. 194.
58. ^Wright 2005, 4:50–4:55.
59. ^BBC News 2004.
60. ^Whitlock 2010, p. 305.
61. ^McGhie 2005.
62. ^Wright 2005, 5:00–5:14, 11:00–11:30.
63. ^ ^abcGoldwasser 2006.
64. ^ ^abO'Brien.
65. ^Ruhlmann.
66. ^Wright 2005, 1:00–1:20.
67. ^ ^abGilligan 2011.
68. ^ ^abPRNewswire 2006.
69. ^Monaghan, Hudelet & Wiltshire 2009, p. 88.
70. ^Gymnich, Ruhl & Scheunemann 2010, pp. 40–41.
71. ^Higson 2011, pp. 172–73.
72. ^Wloszczyna 2005.
73. ^ ^abBrownstein 2011, pp. 53.
74. ^Dawson Edwards 2008, p. 1.
75. ^Working Title Films 2005d.
76. ^Austen 2006, pp. 403–05.
77. ^Demory 2010, p. 132.
78. ^Ailwood 2007.
79. ^ ^abcdStewart-Beer 2007.
80. ^ ^abMartin 2007.
81. ^Paquet-Deyris 2007.
82. ^ ^abcSeeber 2007.
83. ^Palmer 2007.
84. ^Wright 2005, 6:40–6:55.
85. ^Wright 2005, 14:00–14:30.
86. ^Kaplan 2007.
87. ^Higson 2011, pp. 161–70.
88. ^Dawson Edwards 2008, p. 4.
89. ^Troost 2007, p. 87.
90. ^Higson 2011, p. 172.
91. ^Sadoff 2010, p. 87.
92. ^ ^abcCamden 2007.
93. ^MTV 2005.
94. ^Working Title Films 2005a.
95. ^ ^abPapamichael 2005.
96. ^Working Title Films 2005b.
97. ^Working Title Films 2005c.
98. ^ ^abBox Office Mojo International Box Office.
99. ^ ^abUK Film Council.
100. ^Los Angeles Times 2005.
101. ^Gray 2005.
102. ^Carrier 2006.
103. ^PRNewswire 2007.
104. ^McCutcheon 2009.
105. ^ ^abBriscoe 2005.
106. ^Demory 2010, p. 129.
107. ^Lane, Anthony 'Parent Traps', The New Yorker, 14 November 2005
108. ^Lane, Anthony 'Parent Traps', The New Yorker, 14 November 2005
109. ^Edwards 2005.
110. ^Rotten Tomatoes.
111. ^Metacritic.
112. ^ ^abBradshaw 2005.
113. ^ ^abcHastings 2005.
114. ^Sandhu, Sukhdev 'A jolly romp to nowhere', The Daily Telegraph (London), 16 September 2005
115. ^Gleiberman 2005.
116. ^ ^abTime Out 2005.
117. ^Hall 2005.
118. ^Stein 2005.
119. ^Puig 2005.
120. ^Academy of Motion Picture Arts and Sciences.
121. ^Soares 2006a.
122. ^Kimmel 2005.
123. ^British Academy of Film and Television Arts.
124. ^Working Title Films 2006.
125. ^Broadcast Film Critics Awards 2006.
126. ^Soares 2006b.
127. ^Empire Awards 2006.
128. ^Soares 2006c.
129. ^Hollywood Foreign Press Association 2005.
130. ^Barraclough 2005.
131. ^ ^abCamden & Ford 2007.
132. ^Wightman 2011.
133. ^Wells 2008, pp. 109–110.
134. ^Copeland & McMaster 2011, p. 257.
135. ^Sabine 2008.
136. ^ ^abWorking Title Films 2011.
137. ^Wloszczyna 2007.
138. ^Wells 2008, p. 110.
139. ^Monger.
140. ^Bradshaw 2009.
141. ^Pham 2010.
142. ^McCarthy 2011.
143. ^Villa 2017.
144. ^Gutiérrez 2017.

Bibliography[edit]

Books[edit]

• Andrew, Dudley (2011). 'The Economies of Adaptation'. True to the Spirit: Film Adaptation and the Question of Fidelity. Colin MacCabe, Rick Warner, Kathleen Murray (editors). Oxford University Press. pp. 27–40. ISBN978-0-19-537467-4.
• Austen, Jane (2006). Jane Austen: Complete and Unabridged. Sarah S.G. Frantz (editor). Barnes & Noble Publishing, Inc. ISBN0-7607-7401-3.
• Austen, Jane (2008). Pride and Prejudice: A Penguin Enhanced e-Book Classic. Vivian Jones, Tony Tanner, Juliette Wells (editors). Penguin Classics. ISBN978-0-14-143951-8. Archived from the original on 27 June 2014.
• Brownstein, Rachel M. (2011). Why Jane Austen?. Columbia University Press. ISBN978-0-231-15390-4.
• Cartmell, Deborah (2010). Screen Adaptations: Jane Austen's Pride and Prejudice: A Close Study of the Relationship between Text and Film. A&C Black Publishers Ltd. ISBN978-1-4081-0593-1.
• Copeland, Edward; McMaster, Juliet (2011). The Cambridge Companion to Jane Austen. Cambridge University Press. ISBN978-0-521-74650-2.
• Dawson Edwards, Kyle (2008). Corporate Fictions: Film Adaptation and Authorship in the Classical Hollywood Era. ProQuest Information and Learning Company. ISBN978-0-549-38632-2.
• Demory, Pamela (2010). 'Jane Austen and the Chick Flick in the Twenty-first Century'. Adaptation Studies: New Approaches. Christa Albrecht-Crane, Dennis Cutchins (editors). Rosemont Publishing & Printing Corp. pp. 121–149. ISBN978-0-8386-4262-7.
• Gymnich, Marion; Ruhl, Kathrin; Scheunemann, Klaus (2010). 'Revisiting the Classical Romance: Pride and Prejudice, Bridget Jones's Diary and Bride and Prejudice'. Gendered (Re)Visions: Constructions of Gender in Audiovisual Media. Bonn University Press. pp. 23–44. ISBN978-3-89971-662-7.
• Higson, Andrew (2011). Film England: Culturally English Filmmaking Since the 1990s. I.B. Tauris. ISBN978-1-84885-454-3.
• Monaghan, David; Hudelet, Ariane; Wiltshire, John (2009). The Cinematic Jane Austen: Essays on the Filmic Sensibility of the Novels. McFarland & Company, Inc., Publishers. ISBN978-0-7864-3506-7.
• Silvers, Josh; Olsen, Toby D. (2011). 'Pride and Prejudice: Establishing Historical Connections Among the Arts'. Conjuring the Real: The Role of Architecture in Eighteenth- And Nineteenth-Century Fiction. Rumiko Handa, James Potter (editors), Iain Borden (foreword). University of Nebraska Press. pp. 191–214. ISBN978-0-8032-1743-0.
• Troost, Linda V. (2007). 'The Nineteenth-Century Novel on Film: Jane Austen'. The Cambridge Companion to Literature on Screen. Deborah Cartmell, Imelda Whelehan (editors). Cambridge University Press. pp. 75–89. ISBN978-0-521-61486-3.
• Whitlock, Cathy (2010). Designs on Film: A Century of Hollywood Art Direction. HarperCollins Publishers. ISBN978-0-06-088122-1.

Essays and journals[edit]

• Ailwood, Sarah (Summer 2007). 'What Are Men to Rocks and Mountains?' Romanticism in Joe Wright's Pride & Prejudice'. Persuasions On-Line. Jane Austen Society of North America. 27 (2). Archived from the original on 25 January 2012. Retrieved 10 February 2012.
• Camden, Jen (Summer 2007). 'Sex and the Scullery: The New Pride & Prejudice'. Persuasions On-Line. Jane Austen Society of North America. 27 (2). Archived from the original on 29 August 2011. Retrieved 11 March 2012.
• Camden, Jen; Ford, Susan Allen (Summer 2007). 'Something new to be observed ... for ever'. Persuasions On-Line. Jane Austen Society of North America. 27 (2). Archived from the original on 26 June 2011. Retrieved 3 May 2012.
• Chan, Mary (Summer 2007). 'Location, Location, Location: The Spaces of Pride & Prejudice'. Persuasions On-Line. Jane Austen Society of North America. 27 (2). Archived from the original on 14 June 2012. Retrieved 27 February 2012.
• Dole, Carole (Summer 2007). 'Jane Austen and Mud: Pride & Prejudice (2005), British Realism and the Heritage Film'. Persuasions On-Line. Jane Austen Society of North America. 27 (2). Archived from the original on 26 June 2011. Retrieved 10 February 2012.
• Durgan, Jessica (Summer 2007). 'Framing Heritage: The Role of Cinematography in Pride & Prejudice'. Persuasions On-Line. Jane Austen Society of North America. 27 (2). Archived from the original on 22 August 2011. Retrieved 11 March 2012.
• Gilligan, Kathleen E. (2011). 'Jane Austen's Unnamed Character: Exploring Nature in Pride and Prejudice (2005)'. Student Pulse. 3 (12). Archived from the original on 24 November 2012. Retrieved 29 April 2012.
• Kaplan, Laurie (Summer 2007). 'Inside Out/Outside In: Pride & Prejudice on Film 2005'. Persuasions On-Line. Jane Austen Society of North America. 27 (2). Archived from the original on 20 January 2012. Retrieved 27 February 2012.
• Martin, Lydia (Summer 2007). 'Joe Wright's Pride & Prejudice: From Classicism to Romanticism'. Persuasions On-Line. Jane Austen Society of North America. 27 (2). Archived from the original on 20 January 2012. Retrieved 2 March 2012.
• Palmer, Sally B. (Summer 2007). 'Little Women at Longbourn: The Re-Wrighting of Pride and Prejudice'. Persuasions On-Line. Jane Austen Society of North America. 27 (2). Archived from the original on 26 June 2011. Retrieved 27 February 2012.
• Paquet-Deyris, Anne-Marie (Summer 2007). 'Staging intimacy and interiority in Joe Wright's Pride & Prejudice (2005)'. Persuasions On-Line. Jane Austen Society of North America. 27 (2). Archived from the original on 26 November 2010. Retrieved 27 February 2012.
• Sabine, Maureen (Fall 2008). 'With My Body I Thee Worship: Joe Wright's Erotic Vision in Pride & Prejudice (2005)'. Journal of Religion and Popular Culture. 20. Archived from the original on 21 September 2011. Retrieved 12 March 2012.
• Sadoff, Dianne F. (Spring 2010). 'Marketing Jane Austen at the Megaplex'. Novel: A Forum on Fiction. 43 (1): 83–92. doi:10.1215/00295132-2009-067.
• Seeber, Barbara K. (Summer 2007). 'A Bennet Utopia: Adapting the Father in Pride and Prejudice'. Persuasions On-Line. Jane Austen Society of North America. 27 (2). Archived from the original on 8 January 2012. Retrieved 10 February 2012.
• Stewart-Beer, Catherine (Summer 2007). 'Style over Substance? Pride & Prejudice (2005) Proves Itself a Film for Our Time'. Persuasions On-Line. Jane Austen Society of North America. 27 (2). Archived from the original on 26 June 2011. Retrieved 26 February 2012.
• Tandy, Ann M. (Summer 2007). ''Just What a Young Man Ought to Be': The 2005 Pride & Prejudice and Transitional Ideas of Gentility'. Persuasions On-Line. Jane Austen Society of North America. 27 (2). Archived from the original on 26 June 2011. Retrieved 8 March 2012.
• Wells, Juliette (Summer 2007). 'A Fearsome Thing to Behold'? The Accomplished Woman in Joe Wright's Pride & Prejudice''. Persuasions On-Line. Jane Austen Society of North America. 27 (2). Archived from the original on 16 May 2012. Retrieved 10 March 2012.
• Wells, Juliette (2008). 'Shades of Austen in Ian McEwan's Atonement'(PDF). New Directions in Austen Studies. 30 (2): 101–112. Archived(PDF) from the original on 25 June 2011. Retrieved 12 March 2012.
• Woodworth, Megan (Summer 2007). ''I am a gentleman's daughter'? Translating Class from Austen's Page to the Twenty-first-century Screen'. Persuasions On-Line. Jane Austen Society of North America. 27 (2). Archived from the original on 26 June 2011. Retrieved 8 March 2012.

Interviews[edit]

• 'Interview with the cast of Pride & Prejudice'. Daily Mail. 9 September 2005. Archived from the original on 14 December 2009. Retrieved 3 May 2012.
• DeGennaro, Alexa (12 November 2005). 'Interview with New Pride and Prejudice Director Joe Wright'. Yahoo!. Archived from the original on 5 February 2014. Retrieved 16 January 2012.
• Fetters, Sara Michelle. 'It's Austen All Over Again'. MovieFreak.com. Archived from the original on 6 January 2012. Retrieved 10 January 2012.
• Goldwasser, Dan (March 2006). 'Interview – Dario Marianelli'. Soundtrack.net. Archived from the original on 16 June 2010. Retrieved 16 January 2012.
• Hanson, Briony; David Benedict (13 September 2005). 'A masterclass with Deborah Moggach & Joe Wright'. The Script Factory. Archived from the original on 11 August 2010. Retrieved 27 May 2012.
• Hewitt, Chris (9 November 2005). 'Unlikely Director Brought New Approach to Pride & Prejudice'. Ottawa Citizen. Retrieved 3 May 2012.(subscription required)
• Hoggard, Liz (10 September 2005). 'Meet the puppet master'. The Guardian. Archived from the original on 5 February 2014. Retrieved 12 January 2012.
• Lee, Alana (September 2005). 'BBC – Movies – interview – Keira Knightley'. BBC. Archived from the original on 4 November 2012. Retrieved 5 March 2012.
• Robey, Tim (3 February 2006). 'How I undressed Mr Darcy'. The Daily Telegraph. Archived from the original on 16 January 2012. Retrieved 10 February 2012.
• Spunberg, Adam (1 April 2011). 'Scripting Pride & Prejudice with Deborah Moggach'. Picktainment.com. Archived from the original on 15 March 2012. Retrieved 14 March 2012.

Newspaper and magazine articles[edit]

• Alberge, Dalya (11 June 2004). 'Hunt for Darcy nets star of TV spy drama'. The Times. Retrieved 26 February 2012.(subscription required)
• 'Austen story filmed at old house'. BBC News. 19 July 2004. Archived from the original on 22 February 2014. Retrieved 3 March 2012.
• Barraclough, Leo (21 December 2005). 'Pride of crix kudos'. Variety. Retrieved 25 April 2012.
• Bradshaw, Peter (16 September 2005). 'Pride & Prejudice'. The Guardian. Archived from the original on 10 June 2008. Retrieved 2 June 2008.
• Bradshaw, Peter (25 September 2009). 'The Soloist'. The Guardian. Archived from the original on 8 October 2013. Retrieved 29 April 2012.
• Briscoe, Joanna (31 July 2005). 'A costume drama with muddy hems'. The Times. Archived from the original on 15 June 2011. Retrieved 2 June 2008.
• Dawtrey, Adam (19 January 2004). 'London Eye'. Variety. Retrieved 11 June 2012.(subscription required)
• Edwards, David (9 September 2005). 'Pride and Passion'. Daily Mirror. Retrieved 4 June 2012.
• Elley, Derek (11 September 2005). 'Pride & Prejudice (U.K.–U.S.)'. Variety. Retrieved 26 February 2012.
• Gleiberman, Owen (9 November 2005). 'Pride & Prejudice (2005)'. Entertainment Weekly. Archived from the original on 4 June 2012. Retrieved 29 May 2012.
• Hall, Sandra (20 October 2005). 'Pride and Prejudice'. The Sydney Morning Herald. Archived from the original on 30 June 2012. Retrieved 29 May 2012.
• Hastings, Chris (8 August 2005). 'Colin Firth was born to play Mr Darcy. So can anyone else shine in the lead role?'. The Daily Telegraph. Archived from the original on 27 June 2008. Retrieved 3 June 2008.
• Haun, Harry (1 November 2005). 'Austentatious Debut'. Film Journal International. Archived from the original on 5 February 2014. Retrieved 14 March 2012.
• Holden, Stephen (11 November 2005). 'Marrying Off Those Bennet Sisters Again, but This Time Elizabeth Is a Looker'. The New York Times. Archived from the original on 13 February 2012. Retrieved 8 January 2012.
• Kimmel, Daniel M. (11 December 2005). 'Boston film crix hail Brokeback,Capote'. Variety. Retrieved 11 May 2012.
• McGhie, Caroline (24 August 2005). 'A house in want of a fortune'. The Daily Telegraph. Archived from the original on 23 June 2013. Retrieved 3 March 2012.
• Papamichael, Stella (16 September 2005). 'Pride & Prejudice (2005)'. BBC. Archived from the original on 23 January 2011. Retrieved 25 February 2012.
• Pham, Alex (24 July 2010). 'COMIC-CON 2010: Zack Snyder's Sucker Punch goes for grrrl power'. Los Angeles Times. Archived from the original on 11 November 2012. Retrieved 29 April 2012.
• Puig, Claudia (10 November 2005). 'This Pride does Austen proud'. USA Today. Archived from the original on 19 May 2009. Retrieved 29 May 2012.
• Roberts, Laura (16 December 2010). 'British actresses who made their name starring in Jane Austen adaptations'. The Daily Telegraph. Archived from the original on 24 January 2011. Retrieved 11 February 2012.
• Rojas Weiss, Sabrina (11 November 2005). 'Keira Knightley Has Austen Power'. TV Guide. Archived from the original on 12 August 2010. Retrieved 26 February 2012.
• Sanderson, Elizabeth; Challand, Christine; Graham, Caroline (3 May 2010). 'The miseducation of Carey Mulligan: How did actress become our hottest leading lady?'. Daily Mail. Archived from the original on 7 February 2011. Retrieved 11 February 2012.
• Stein, Ruthe (11 November 2005). 'Luscious new Pride & Prejudice updates the mating game'. San Francisco Chronicle. Archived from the original on 15 February 2009. Retrieved 29 May 2012.
• 'Pride & Prejudice (2005)'. Time Out. 14 September 2005. Archived from the original on 15 August 2012. Retrieved 29 May 2012.
• Wloszczyna, Susan (13 November 2005). 'It was the best kiss, it was the worst in Pride & Prejudice'. USA Today. Archived from the original on 28 July 2010. Retrieved 29 February 2012.
• Wloszczyna, Susan (6 September 2007). 'Returning directors feel the warmth in fest spotlight'. USA Today. Archived from the original on 13 October 2008. Retrieved 14 March 2012.

Online[edit]

• 'Nominees & Winners for the 78th Academy Awards'. Academy of Motion Picture Arts and Sciences. Archived from the original on 9 March 2012. Retrieved 26 February 2012.
• 'Awards database'. British Academy of Film and Television Arts. Retrieved 26 February 2012.
• 'Pride and Prejudice (2005) – International Box Office Results'. Box Office Mojo. Archived from the original on 5 February 2014. Retrieved 26 February 2012.
• 'Pride and Prejudice (2005)'. Box Office Mojo. Archived from the original on 29 January 2012. Retrieved 10 January 2012.
• 'Pride and Prejudice (2005)'. British Film Institute. Archived from the original on 5 February 2014. Retrieved 10 July 2012.
• 'The 11th Critics' Choice Movie Awards Winners and Nominees'. Broadcast Film Critics Association. Archived from the original on 26 August 2012. Retrieved 16 May 2012.
• Carrier, Steven (24 January 2006). 'Pride & Prejudice (UK – DVD R2/5)'. DVDactive. Archived from the original on 21 July 2013. Retrieved 29 February 2012.
• Desowitz, Bill (22 September 2005). 'Double Negative Does VFX for Pride & Prejudice'. Animation World Network. Retrieved 27 May 2012.
• 'Sony Ericsson Empire Awards 2006'. Empire. Archived from the original on 16 June 2013. Retrieved 16 May 2012.
• Gray, Brandon (14 November 2005). 'Pride and Prejudice Impresses in Limited Bow'. Box Office Mojo. Archived from the original on 13 February 2012. Retrieved 8 March 2012.
• '63rd Golden Globe Awards Nominations'. Hollywood Foreign Press Association. 13 December 2005. Archived from the original on 27 May 2012. Retrieved 16 May 2012.
• Hall, Katy (18 March 2010). 'Carey Mulligan Gets An Education In Movie Stardom'. The Huffington Post. Archived from the original on 6 December 2013. Retrieved 11 February 2012.
• 'Weekend box office'. Los Angeles Times. 15 November 2005. Archived from the original on 5 February 2014. Retrieved 3 May 2012.
• McCarthy, Todd (30 March 2011). 'Hanna: Movie Review'. The Hollywood Reporter. Archived from the original on 9 December 2011. Retrieved 12 March 2012.
• McCutcheon, David (21 December 2009). 'Pride Finds Prejudice'. IGN. Archived from the original on 20 July 2012. Retrieved 29 February 2012.
• 'Pride & Prejudice (2005 film): Reviews'. Metacritic. Archived from the original on 24 February 2009. Retrieved 13 March 2012.
• Monger, James Christopher. ' The Soloist [Music from the Motion Picture]'. AllMusic. Retrieved 29 April 2012.
• 'Keira Knightley Hits The Red Carpet'. MTV. 10 October 2005. Archived from the original on 21 February 2014. Retrieved 14 March 2012.
• O'Brien, Jon. 'Pride & Prejudice [Original Score]'. AllMusic. Retrieved 11 May 2012.
• 'Pride and Prejudice (2005)'. Rotten Tomatoes. Archived from the original on 7 January 2012. Retrieved 8 January 2012.
• Ruhlmann, William. 'Pride & Prejudice [Original Score] Album Reviews'. Billboard. Archived from the original on 22 January 2011. Retrieved 11 May 2012.
• Soares, Andre (19 February 2006). 'American Cinema Editors Awards 2006'. Alt Film Guide. Archived from the original on 1 October 2012. Retrieved 11 May 2012.
• Soares, Andre (9 January 2006). 'Chicago Film Critics Awards 2005'. Alt Film Guide. Archived from the original on 23 August 2011. Retrieved 16 May 2012.
• Soares, Andre (2 December 2006). 'European Film Awards 2006'. Alt Film Guide. Archived from the original on 5 October 2012. Retrieved 11 May 2012.
• 'Pride and Prejudice'. The Numbers. Archived from the original on 19 December 2011. Retrieved 8 February 2012.
• 'UK Box Office: 2005'. UK Film Council. Archived from the original on 30 April 2012. Retrieved 10 July 2012.
• Wightman, Catriona (12 November 2011). 'Pride and Prejudice: Tube Talk Gold'. Digital Spy. Archived from the original on 5 February 2014. Retrieved 3 May 2012.
• Villa, Bernardita (11 December 2017). 'Las series más vistas por los chilenos en Netflix' [The most watched TV series by chileans in Netflix] (in Spanish). Bio-Bio. Retrieved 16 December 2017.
• Gutiérrez, Catalina (14 December 2017). 'Me gusta Orgullo y Prejuicio porque es feminista' [I like Pride & Prejudice because is a feminist film] (in Spanish). Women Talk. Retrieved 16 December 2017.

Press releases[edit]

• 'Pride & Prejudice: The Locations' (Press release). Focus Features. 1 November 2005. Archived from the original on 3 March 2012. Retrieved 19 January 2012.
• 'Pride & Prejudice: The Production' (Press release). Focus Features. 1 November 2005. Archived from the original on 18 May 2012. Retrieved 19 January 2012.
• 'Nominated for Four Academy Awards(R)* Including Best Actress Keira Knightley Universal Studios Home Entertainment Is Proud to Announce the DVD Release of Jane Austen's Ultimate Romance Pride & Prejudice' (Press release). PR Newswire. 31 January 2006. Archived from the original on 5 February 2014. Retrieved 26 February 2012.
• 'From Universal Studios Home Entertainment: Pride & Prejudice 2 Disc Deluxe Gift Set' (Press release). PR Newswire. 20 September 2007. Archived from the original on 5 February 2014. Retrieved 26 February 2012.
• 'Pride & Prejudice gala screening in Toronto' (Press release). Working Title Films. 29 July 2005. Archived from the original on 4 November 2011. Retrieved 14 March 2012.
• 'Pride & Prejudice released this weekend' (Press release). Working Title Films. 15 September 2005. Archived from the original on 4 November 2011. Retrieved 14 March 2012.
• 'Pride & Prejudice is a number 1 hit' (Press release). Working Title Films. 19 September 2005. Archived from the original on 4 November 2011. Retrieved 26 February 2012.
• 'Pride & Prejudice – US ending now on release in UK' (Press release). Working Title Films. 25 November 2005. Archived from the original on 4 November 2011. Retrieved 14 March 2012.
• 'Pride & Prejudice wins six Bafta nominations' (Press release). Working Title Films. 19 January 2006. Archived from the original on 4 November 2011. Retrieved 26 February 2012.
• 'Production Commences on Anna Karenina' (Press release). Working Title Films. 3 October 2011. Archived from the original on 5 February 2014. Retrieved 12 March 2012.

Visual media[edit]

Pride And Prejudice 2005 Free Online

• Knightley, Keira (2005). Pride & Prejudice: HBO First Look (DVD). Joe Wright, Tim Bevan, Deborah Moggach, Brenda Blethyn, Donald Sutherland. Bonus Features: Universal Studios.
• Sutherland, Donald (2005). Behind-the-Scenes at the Ball (DVD). Brenda Blethyn, Tom Hollander, Keira Knightley, Matthew Macfadyen, Talulah Riley, Carey Mulligan, Jena Malone, Rosamund Pike. Bonus Features: Universal Studios.
• Wright, Joe (2005). Audio commentary for Pride & Prejudice (DVD). Bonus Features: Universal Studios.

External links[edit]

• Official website
• Pride & Prejudice on IMDb
• Pride & Prejudice at Rotten Tomatoes
• Pride & Prejudice at Metacritic
• Pride & Prejudice at Box Office Mojo

Pride and Prejudice is an 1813 romantic novel of manners written by Jane Austen. The novel follows the character development of Elizabeth Bennet, the dynamic protagonist of the book, who learns about the repercussions of hasty judgments and eventually comes to appreciate the difference between superficial goodness and actual goodness. A classic piece filled with comedy, its humour lies in its honest depiction of manners, education, marriage and money during the Regency era in Great Britain.

Mr Bennet of Longbourn estate has five daughters, but because his property is entailed it can only be passed from male heir to male heir. Consequently, Mr Bennet's family will be destitute upon his death. Because his wife also lacks an inheritance, it is imperative that at least one of the girls marry well to support the others upon his death, which is a motivation that drives the plot. Jane Austen's opening line--'It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife'—is a sentence filled with irony and sets the tone for the book. The novel revolves around the importance of marrying for love, not simply for economic gain or social prestige, despite the communal pressure to make a good (i.e., wealthy) match.

Pride and Prejudice has delighted readers for years, consistently appearing near the top of lists of 'most-loved books' among literary scholars and the reading public. It has become one of the most popular novels in English literature with over 20 million copies sold and has inspired many derivatives that abound in modern literature.^[1][2] For more than a century, amateur and professional dramatic adaptations, reprints, unofficial sequels, films, and TV versions of Pride and Prejudice have portrayed the memorable characters and themes of the novel, reaching mass audiences.^[3] The 2005 film Pride & Prejudice, starring Keira Knightley and Matthew Macfadyen, is the most recent film adaptation that closely represents the book, with the 2016 action, comedy, and horror spin-off Pride and Prejudice and Zombies being the most recent Hollywood film adaptation.^[4]

• 3Major themes
• 7Reception
• 8Adaptations

Plot summary[edit]

The novel opens with Mrs Bennet trying to persuade Mr Bennet to visit Mr Bingley, a rich bachelor who has arrived in the neighbourhood. After some verbal sparring with Mr Bennet baiting his wife, she believes he will not visit. A little while later, he does make the visit to Netherfield, Mr Bingley's rented house, much to the delight of Mrs Bennet and her daughters. The visit is followed by an invitation to a ball at the local assembly rooms that the whole neighbourhood will attend.

At the ball, Mr Bingley is open and cheerful, popular with all the guests and appears to be very attracted to Miss Jane Bennet (the Bennets' eldest daughter), with whom he dances twice. His friend Mr Darcy is reputed to be twice as wealthy; he is haughty and aloof and his manners cause everyone to turn from interest to a decided dislike of him. He declines to dance with Elizabeth (the Bennets' second eldest daughter), stating that she is not pretty enough to tempt him.^[5] She finds this amusing and jokes about it with her sisters. Mr Bingley's sister, Caroline, later invites Jane to visit.

When Jane visits Miss Bingley, she is caught in a rain shower on the way and comes down with a bad cold. Elizabeth visits Jane at Netherfield. There Mr Darcy begins to be attracted to Elizabeth, while Miss Bingley becomes jealous, as she herself has designs on Mr Darcy.

Mr Collins, a cousin of Mr Bennet and heir to the Longbourn estate after Mr Bennet dies, visits the Bennet family. He is a pompous, obsequious clergyman who intends to marry one of the Bennet girls. When he learns that Jane may be engaged, he quickly decides to propose to Elizabeth as the next in both age and beauty.

Elizabeth and her family meet the dashing, charming officer George Wickham, who singles out Elizabeth and tells her how Mr Darcy deprived him of a living (position as clergyman in a prosperous parish with good revenue that, once granted, is for life) promised to him by Mr Darcy's late father. Elizabeth's dislike of Mr Darcy is confirmed.^[5]

At a ball at Netherfield, Mr Darcy asks Elizabeth to dance, and, despite her vow never to dance with him, she accepts. Other than Jane and Elizabeth, several members of the Bennet family show a distinct lack of decorum. Mrs Bennet hints loudly that she fully expects Jane and Bingley to become engaged, and the younger Bennet sisters expose the family to ridicule by their silliness.

Mr Collins proposes to Elizabeth, who rejects him, to the fury of her mother and the relief of her father. Shortly after, they receive news that the Bingleys are suddenly leaving for London with no plans to return. After his rejection by Elizabeth, Mr Collins proposes to Charlotte Lucas, a sensible young woman and Elizabeth's friend. Charlotte is older (27) and is grateful to receive a proposal that will guarantee her a comfortable home. Elizabeth is aghast at such pragmatism in matters of love. Heartbroken, Jane goes to visit her Aunt and Uncle Gardiner in London. There it becomes clear that Miss Bingley does not want to resume their friendship and Jane is upset, though very composed.

In the spring, Elizabeth visits Charlotte and Mr Collins in Kent. Elizabeth and her hosts are invited to Rosings Park, the imposing home of Lady Catherine de Bourgh, patroness of Mr Collins and Mr Darcy's wealthy aunt. She expects Mr Darcy to marry her daughter. Mr Darcy and his cousin, Colonel Fitzwilliam, are also visiting at Rosings Park. Fitzwilliam tells Elizabeth how Mr Darcy managed to save a friend from a bad match. Elizabeth realises the story must refer to Jane and is horrified that Mr Darcy has interfered. Mr Darcy proposes to Elizabeth declaring his love for her. She rejects him angrily, stating that she could not love a man who has caused her sister such unhappiness and further accuses him of treating Wickham unjustly. The latter accusation angers Mr Darcy and he accuses her family of lacking propriety and suggests he has been kinder to Bingley than to himself.

Later, Mr Darcy gives Elizabeth a letter, explaining that Wickham had refused the living and was given money for it instead. Wickham proceeded to waste the money and when impoverished, asked for the living again. After being refused, he tried to elope with Darcy's 15-year-old sister, Georgiana, for her large dowry. Mr Darcy also writes that he believed Jane, because of her reserved behaviour, did not love Bingley. Mr Darcy apologises for hurting Jane and Elizabeth.

Some months later, Elizabeth and the Gardiners visit Darcy's estate in Derbyshire, Pemberley (after Elizabeth ascertains that the owner will not be there). On a tour, the housekeeper describe him as being kind and generous. When Mr Darcy returns unexpectedly, he is exceedingly gracious and later invites Elizabeth and the Gardiners to meet his sister and Mr Gardiner to go fishing. Elizabeth is surprised and delighted by their treatment. She then receives news that her sister Lydia had eloped with Wickham. She tells Mr Darcy immediately and departs in haste, believing she will never see him again since Lydia has ruined the family's good name.

After an agonising wait, Wickham has agreed to marry Lydia. With some veneer of decency restored, Lydia visits her family and tells Elizabeth that Mr Darcy was at her wedding. Mrs Gardiner informs Elizabeth that it is Mr Darcy who made the match, at great expense and trouble to himself and hints that he may have 'another motive' for doing so.

Mr Bingley and Mr Darcy return to Netherfield, and Bingley proposes to Jane who accepts him. Lady Catherine, having heard rumours that Elizabeth intends to marry Mr Darcy, visits Elizabeth and demands that she promise not to accept his proposal. Elizabeth refuses and the outraged Lady Catherine leaves. Darcy, heartened by Elizabeth's response, again proposes to her and is accepted. Elizabeth has difficulty in convincing her father that she is marrying for love, not position and wealth, but in the end Mr Bennet is convinced.

Characters[edit]

• Elizabeth Bennet – the second eldest of the Bennet daughters, she is twenty years old and intelligent, lively, playful, attractive, and witty – but with a tendency to form tenacious and prejudicial first impressions. As the story progresses, so does her relationship with Mr Darcy. The course of Elizabeth and Darcy's relationship is ultimately decided when Darcy overcomes his pride, and Elizabeth overcomes her prejudice, leading them both to surrender to their love for each other.
• Mr Fitzwilliam Darcy – Mr Bingley's friend and the wealthy, twenty-eight-year-old owner of the family estate of Pemberley in Derbyshire, rumoured to be worth at least £10,000 a year (£796,000 or $1,045,000 in today's money).^[7] While he is handsome, tall, and intelligent, Darcy lacks ease and social graces, and so others frequently mistake his initially haughty reserve and rectitude as proof of excessive pride (which, in part, it is). A new visitor to the village, he is ultimately Elizabeth Bennet's love interest.
• Mr Bennet – A late-middle-aged landedgentleman of a modest income of £2000 per annum, and the dryly sarcastic patriarch of the now-dwindling Bennet family (a family of Hertfordshire landed gentry), with five unmarried daughters. His estate, Longbourn, is entailed to the male line.
• Mrs Bennet (née Gardiner) – the middle-aged wife of her social superior, Mr Bennet, and the mother of their five daughters. Mrs Bennet is a hypochondriac who imagines herself susceptible to attacks of tremors and palpitations (her 'poor nerves'), whenever things are not going her way. Her main ambition in life is to marry her daughters off to wealthy men. Whether or not any such matches will give her daughters happiness is of little concern to her.

• Jane Bennet – the eldest Bennet sister. Twenty-two years old when the novel begins, she is considered the most beautiful young lady in the neighbourhood and is inclined to see only the good in others (but can be persuaded otherwise on sufficient evidence). She falls in love with Charles Bingley, a rich young gentleman recently moved to Hertfordshire and a close friend of Mr Darcy.
• Mary Bennet – the middle Bennet sister, and the plainest of her siblings. Mary has a serious disposition and mostly reads and plays music, although she is often impatient to display her accomplishments and is rather vain about them. She frequently moralises to her family. According to James Edward Austen-Leigh's A Memoir of Jane Austen, Mary ended up marrying one of her Uncle Philips' law clerks and moving into Meryton with him.
• Catherine 'Kitty' Bennet – the fourth Bennet daughter at 17 years old. Though older than Lydia, she is her shadow and follows her in her pursuit of the officers of the militia. She is often portrayed as envious of Lydia and is described a 'silly' young woman. However, it is said that she improved when removed from Lydia's influence. According to James Edward Austen-Leigh's A Memoir of Jane Austen, Kitty later married a clergyman who lived near Pemberley.
• Lydia Bennet – the youngest Bennet sister, aged 15 when the novel begins. She is frivolous and headstrong. Her main activity in life is socializing, especially flirting with the officers of the militia. This leads to her running off with George Wickham, although he has no intention of marrying her. Lydia shows no regard for the moral code of her society; as Ashley Tauchert says, she 'feels without reasoning.'^[8]
• Charles Bingley – a handsome, amiable, wealthy young gentleman from the north of England (possibly Yorkshire, as Scarborough is mentioned, and there is, in fact, a real-life town called Bingley in West Yorkshire), who leases Netherfield Park, an estate three miles from Longbourn, with the hopes of purchasing it. He is contrasted with Mr Darcy for having more generally pleasing manners, although he is reliant on his more experienced friend for advice. An example of this is the prevention of Bingley and Jane's romance because of Bingley's undeniable dependence on Darcy's opinion.^[9] He lacks resolve and is easily influenced by others; his two sisters, Miss Caroline Bingley and Mrs Louisa Hurst, both disapprove of Bingley's growing affection for Miss Jane Bennet.
• Caroline Bingley – the vainglorious, snobbish sister of Charles Bingley, with a dowry of £20,000. Miss Bingley harbours designs upon Mr Darcy, and therefore is jealous of his growing attachment to Elizabeth. She attempts to dissuade Mr Darcy from liking Elizabeth by ridiculing the Bennet family and criticising Elizabeth's comportment. Miss Bingley also disapproves of her brother's esteem for Jane Bennet, and is disdainful of society in Meryton. Her wealth (her dowry gives her an income of £1,000 per annum, which she overspends) and her expensive education seem to be the two greatest sources of Miss Bingley's vanity and conceit; likewise, she is very insecure about the fact that her and her family's money all comes from trade, and is eager both for her brother to purchase an estate, ascending the Bingleys to the ranks of the Gentry, and for herself to marry a landed gentleman (i.e. Mr Darcy). The dynamic between Miss Bingley and her sister, Louisa Hurst, seems to echo that of Lydia and Kitty Bennet's; that one is no more than a follower of the other, with Caroline in the same position as Lydia, and Louisa in Kitty's (though, in Louisa's case, as she's already married, she's not under the same desperation as Caroline). Louisa is married to Mr Hurst, who has a house in Grosvenor Square, London.
• George Wickham – Wickham has been acquainted with Mr Darcy since infancy, being the son of Mr Darcy's father's steward. An officer in the militia, he is superficially charming and rapidly forms an attachment with Elizabeth Bennet. He later runs off with Lydia with no intention of marriage, which would have resulted in her and her family's complete disgrace, but for Darcy's intervention to bribe Wickham to marry her by paying off his immediate debts.
• Mr William Collins – Mr Collins, aged 25 years old as the novel begins, is Mr Bennet's distant second cousin, a clergyman, and the current heir presumptive to his estate of Longbourn House. He is an obsequious and pompous man who is excessively devoted to his patroness, Lady Catherine de Bourgh.
• Lady Catherine de Bourgh – the overbearing aunt of Mr Darcy. Lady Catherine is the wealthy owner of Rosings Park, where she resides with her daughter Anne and is fawned upon by her rector, Mr Collins. She is haughty, pompous, domineering, and condescending, and has long planned to marry off her sickly daughter to Darcy, to 'unite their two great estates', claiming it to be the dearest wish of both her and her late sister, Lady Anne Darcy (née Fitzwilliam).
• Mr Edward and Mrs M Gardiner – Edward Gardiner is Mrs Bennet's brother and a successful tradesman of sensible and gentlemanly character. Aunt Gardiner is genteel and elegant, and is close to her nieces Jane and Elizabeth. The Gardiners are instrumental in bringing about the marriage between Darcy and Elizabeth.
• Georgiana Darcy – Georgiana is Mr Darcy's quiet, amiable (and shy) younger sister, with a dowry of £30,000, and is aged barely 16 when the story begins. When still 15, Miss Darcy almost eloped with Mr Wickham, but was saved by her brother, whom she idolises. Thanks to years of tutorage under masters, she is accomplished at the piano, singing, playing the harp, and drawing, and modern languages, and is therefore described as Caroline Bingley's idea of an 'accomplished woman'.
• Charlotte Lucas – Charlotte is Elizabeth's friend who, at 27 years old (and thus very much beyond what was then considered prime marriageable age), fears becoming a burden to her family and therefore agrees to marry Mr Collins to gain financial security. Though the novel stresses the importance of love and understanding in marriage, Austen never seems to condemn Charlotte's decision to marry for money. She uses Charlotte to convey how women of her time would adhere to society's expectation for women to marry even if it is not out of love, but convenience.^[10] Charlotte is the daughter of Sir William Lucas and Lady Lucas, neighbours of the Bennet family.
• Colonel Fitzwilliam – Colonel Fitzwilliam is the younger son of an earl, and the nephew of Lady Catherine de Bourgh and Lady Anne Darcy; this makes him the cousin of Anne de Bourgh and the Darcy siblings, Fitzwilliam and Georgiana. He is about 30 years old at the beginning of the novel. He is the co-guardian of Miss Georgiana Darcy, along with his cousin, Mr Darcy. According to Colonel Fitzwilliam, as a younger son, he cannot marry without thought to his propective bride's dowry; Elizabeth Bennet joked that, as the son of an Earl, Colonel Fitzwilliam wouldn't be able to settle for a bride with a dowry lower than £50,000 (which eludes that Colonel Fitzwilliam's living allowance is about £2,500 per-year).

Major themes[edit]

Many critics take the title as the start when analysing the themes of Pride and Prejudice but, Robert Fox cautions against reading too much into the title, because commercial factors may have played a role in its selection. 'After the success of Sense and Sensibility, nothing would have seemed more natural than to bring out another novel of the same author using again the formula of antithesis and alliteration for the title. It should be pointed out that the qualities of the title are not exclusively assigned to one or the other of the protagonists; both Elizabeth and Darcy display pride and prejudice.'^[11] The phrase 'pride and prejudice' had been used over the preceding two centuries by Joseph Hall, Jeremy Taylor, Joseph Addison and Samuel Johnson.^[12][13] Austen probably took her title from a passage in Fanny Burney's Cecilia (1782), a popular novel she is known to have admired:

'The whole of this unfortunate business, said Dr Lyster, has been the result of PRIDE and PREJUDICE. […] if to PRIDE and PREJUDICE you owe your miseries, so wonderfully is good and evil balanced, that to PRIDE and PREJUDICE you will also owe their termination.'^[13][14] (capitalisation as in the original)

A theme in much of Austen's work is the importance of environment and upbringing in developing young people's character and morality.^[15] Social standing and wealth are not necessarily advantages in her world and a further theme common to Austen's work is ineffectual parents. In Pride and Prejudice, the failure of Mr and Mrs Bennet as parents is blamed for Lydia's lack of moral judgment. Darcy has been taught to be principled and scrupulously honourable but he is also proud and overbearing.^[15] Kitty, rescued from Lydia's bad influence and spending more time with her older sisters after they marry, is said to improve greatly in their superior society.^[16] The American novelist Anna Quindlen observed in an introduction to an edition of Austen's novel in 1995:

Pride and Prejudice is also about that thing that all great novels consider, the search for self. And it is the first great novel that teaches us this search is as surely undertaken in the drawing room making small talk as in the pursuit of a great white whale or the public punishment of adultery.^[17]

Marriage[edit]

The opening line of the novel famously announces: 'It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife.'^[18] This sets marriage as a motif and a problem in the novel. Readers are poised to question whether or not these single men need a wife, or if the need is dictated by the 'neighbourhood' families and their daughters who require a 'good fortune'.

Marriage is a complex social activity that takes political economy and economy generally, into account. In the case of Charlotte Lucas, the seeming success of her marriage lies in the comfortable financial circumstances of their household, while the relationship between Mr and Mrs Bennet serves to illustrate bad marriages based on an initial attraction and surface over substance (economic and psychological). The Bennets' marriage is an example that the youngest Bennet, Lydia, re-enacts with Wickham and the results are far from felicitous. Although the central characters, Elizabeth and Darcy, begin the novel as hostile acquaintances and unlikely friends, they eventually work toward a better understanding of themselves and each other, which frees them to truly fall in love. This does not eliminate the challenges of the real differences in their technically-equivalent social status as gentlemen and their female relations. It does however provide them with a better understanding of each other's point of view from the different ends of the rather wide scale of differences within that category.

When Elizabeth rejects Darcy's first proposal, the argument of marrying for love is introduced. Elizabeth only accepts Darcy's proposal when she is certain she loves him and her feelings are reciprocated.^[19] Austen's complex sketching of different marriages ultimately allows readers to question what forms of alliance are desirable especially when it comes to privileging economic, sexual, companionate attraction.^{[citation needed]}

Wealth[edit]

Money plays a fundamental role in the marriage market, for the young ladies seeking a well-off husband and for men who wish to marry a woman of means. George Wickham tried to elope with Georgiana Darcy, and Colonel Fitzwilliam married for money. Marrying a woman of a rich family also ensured a linkage to a high family, as is visible in the desires of Bingley's sisters to have their brother married to Georgiana Darcy. Mrs Bennet is frequently seen encouraging her daughters to marry a wealthy man of high social class. In chapter 1, when Mr Bingley arrives, she declares 'I am thinking of his marrying one of them'.^[20]

Inheritance was by descent but could be further restricted by entailment, which would restrict inheritance to male heirs only. In the case of the Bennet family, Mr Collins was to inherit the family estate upon Mr Bennet's death and his proposal to Elizabeth would have ensured her security but she refuses his offer. Inheritance laws benefited males because most women did not have independent legal rights until the second half of the 19th century and women's financial security depended on men. For the upper-middle and aristocratic classes, marriage to a man with a reliable income was almost the only route to security for the woman and the children she was to have.^[21] The irony of the opening line is that generally within this society it would be a woman who would be looking for a wealthy husband to have a prosperous life.^{[citation needed]}

Class[edit]

Austen might be known now for her 'romances' but the marriages in her novels engage with economics and class distinction. Pride and Prejudice is hardly the exception. When Darcy proposes to Elizabeth, he cites their economic and social differences as an obstacle his excessive love has had to overcome, though he still anxiously harps on the problems it poses for him within his social circle. His aunt, Lady Catherine, later characterises these differences in particularly harsh terms when she conveys what Elizabeth's marriage to Darcy will become, 'Will the shades of Pemberley be thus polluted?' Although Elizabeth responds to Lady Catherine's accusations that hers is a potentially contaminating economic and social position (Elizabeth even insists she and Darcy, as gentleman's daughter and gentleman, are 'equals'), Lady Catherine refuses to accept Darcy's actual marriage to Elizabeth even as the novel closes.^{[citation needed]}

The Bingleys present a particular problem for navigating class. Though Caroline Bingley and Mrs Hurst behave and speak of others as if they have always belonged in the upper echelons of society, Austen makes a point to explain that the Bingleys are trade rather than inheritors and rentiers. The fact that Bingley rents Netherfield Hall – it is, after all, 'to let' – distinguishes him significantly from Darcy, whose estate belonged to his father's family and through his mother, is the grandson and nephew of an Earl. Bingley, unlike Darcy, does not own his property, but has portable and growing wealth that makes him a good catch on the marriage market for poorer daughters of the gentry, like Jane Bennet, ambitious cits (merchant class), etc. Class plays a central role in the evolution of the characters and Jane Austen's radical approach to class is seen as the plot unfolds.^[22]

There is an undercurrent of the old Anglo-Norman upper class hinted at in the story, as suggested by the names of Fitzwilliam Darcy and his aunt, Lady Catherine de Bourgh; Fitzwilliam, D'Arcy, de Bourgh (Burke), and even Bennet, are traditional Norman surnames.^[23]

Self-knowledge[edit]

Through their interactions and their critiques of each other, Darcy and Elizabeth come to recognise their faults and work to correct them. Elizabeth meditates on her own mistakes thoroughly in chapter 36:

'How despicably have I acted!' she cried; 'I, who have prided myself on my discernment! I, who have valued myself on my abilities! who have often disdained the generous candour of my sister, and gratified my vanity in useless or blameable distrust. How humiliating is this discovery! yet, how just a humiliation! Had I been in love, I could not have been more wretchedly blind. But vanity, not love, has been my folly. Pleased with the preference of one, and offended by the neglect of the other, on the very beginning of our acquaintance, I have courted prepossession and ignorance, and driven reason away, where either were concerned. Till this moment I never knew myself.'^[24]

Other characters rarely exhibit this depth of understanding or at least are not given the space within the novel for this sort of development. Tanner writes that Mrs Bennet in particular, 'has a very limited view of the requirements of that performance; lacking any introspective tendencies she is incapable of appreciating the feelings of others and is only aware of material objects'.^[25] Mrs Bennet's behaviour reflects the society in which she lives, as she knows that her daughters will not succeed if they don't get married. 'The business of her life was to get her daughters married: its solace was visiting and news.'^[26] This shows that Mrs Bennet is only aware of 'material objects' and not of her feelings and emotions.^[27]

Style[edit]

Pride and Prejudice, like most of Austen's works, employs the narrative technique of free indirect speech, which has been defined as 'the free representation of a character's speech, by which one means, not words actually spoken by a character, but the words that typify the character's thoughts, or the way the character would think or speak, if she thought or spoke'.^[28] Austen creates her characters with fully developed personalities and unique voices. Though Darcy and Elizabeth are very alike, they are also considerably different.^[29] By using narrative that adopts the tone and vocabulary of a particular character (in this case, Elizabeth), Austen invites the reader to follow events from Elizabeth's viewpoint, sharing her prejudices and misapprehensions. 'The learning curve, while undergone by both protagonists, is disclosed to us solely through Elizabeth's point of view and her free indirect speech is essential ... for it is through it that we remain caught, if not stuck, within Elizabeth's misprisions.'^[28] The few times the reader is allowed to gain further knowledge of another character's feelings, is through the letters exchanged in this novel. Darcy's first letter to Elizabeth is an example of this as through his letter, the reader and Elizabeth are both given knowledge of Wickham's true character. Austen is known to use irony throughout the novel especially from viewpoint of the character of Elizabeth Bennet. She conveys the 'oppressive rules of femininity that actually dominate her life and work, and are covered by her beautifully carved trojan horse of ironic distance.'.^[8] Beginning with a historical investigation of the development of a particular literary form and then transitioning into empirical verifications, it reveals Free Indirect Discourse as a tool that emerged over time as practical means for addressing the physical distinctness of minds. Seen in this way, Free Indirect Discourse is a distinctly literary response to an environmental concern, providing a scientific justification that does not reduce literature to a mechanical extension of biology, but takes its value to be its own original form.^[30]

Development of the novel[edit]

Austen began writing the novel after staying at Goodnestone Park in Kent with her brother Edward and his wife in 1796.^[31] It was originally titled First Impressions, and was written between October 1796 and August 1797.^[32] On 1 November 1797 Austen's father sent a letter to London bookseller Thomas Cadell to ask if he had any interest in seeing the manuscript, but the offer was declined by return post.^[33] The militia were mobilised after the French declaration of war on Britain in February 1793, and there was initially a lack of barracks for all the militia regiments, requiring the militia to set up huge camps in the countryside, which the novel refers to several times.^[34] The Brighton camp for which the militia regiment leaves in May after spending the winter in Meryton was opened in August 1793, and the barracks for all the regiments of the militia were completed by 1796, placing the events of the novel between 1793 and 1795.^[35]

Austen made significant revisions to the manuscript for First Impressions between 1811 and 1812.^[32] As nothing remains of the original manuscript, we are reduced to conjecture. From the large number of letters in the final novel, it is assumed that First Impressions was an epistolary novel.^[36] She later renamed the story Pride and Prejudice around about 1811/1812, which she sold the rights to publish the manuscript to Thomas Egerton for £110^[37] (equivalent to £7,197 in 2018). In renaming the novel, Austen probably had in mind the 'sufferings and oppositions' summarised in the final chapter of Fanny Burney's Cecilia, called 'Pride and Prejudice', where the phrase appears three times in block capitals.^[15] It is possible that the novel's original title was altered to avoid confusion with other works. In the years between the completion of First Impressions and its revision into Pride and Prejudice, two other works had been published under that name: a novel by Margaret Holford and a comedy by Horace Smith.^[33]

Publication history[edit]

Austen sold the copyright for the novel to Thomas Egerton from the Military Library, Whitehall in exchange for £110 (Austen had asked for £150).^[38] This proved a costly decision. Austen had published Sense and Sensibility on a commission basis, whereby she indemnified the publisher against any losses and received any profits, less costs and the publisher's commission. Unaware that Sense and Sensibility would sell out its edition, making her £140,^[33] she passed the copyright to Egerton for a one-off payment, meaning that all the risk (and all the profits) would be his. Jan Fergus has calculated that Egerton subsequently made around £450 from just the first two editions of the book.^[39]

Egerton published the first edition of Pride and Prejudice in three hardcover volumes on 27 January 1813.^[40] It was advertised in The Morning Chronicle, priced at 18s.^[32] Favourable reviews saw this edition sold out, with a second edition published in November that year. A third edition was published in 1817.^[38]

Foreign language translations first appeared in 1813 in French; subsequent translations were published in German, Danish, and Swedish.^[41]Pride and Prejudice was first published in the United States in August 1832 as Elizabeth Bennet or, Pride and Prejudice.^[38] The novel was also included in Richard Bentley's Standard Novel series in 1833. R. W. Chapman's scholarly edition of Pride and Prejudice, first published in 1923, has become the standard edition on which many modern published versions of the novel are based.^[38]

The novel was originally published anonymously, as were all of Austen's novels. However, whereas her first published novel, Sense and Sensibility was presented as being written 'by a Lady,' Pride and Prejudice was attributed to 'the Author of Sense and Sensibility'. This began to consolidate a conception of Austen as an author, albeit anonymously. Her subsequent novels were similarly attributed to the anonymous author of all her then-published works.

Reception[edit]

At first publication[edit]

The novel was well received, with three favourable reviews in the first months following publication.^[39]Anne Isabella Milbanke, later to be the wife of Lord Byron, called it 'the fashionable novel'.^[39] Noted critic and reviewer George Henry Lewes declared that he 'would rather have written Pride and Prejudice, or Tom Jones, than any of the Waverley Novels'.^[42]

Charlotte Brontë, however, in a letter to Lewes, wrote that Pride and Prejudice was a disappointment, 'a carefully fenced, highly cultivated garden, with neat borders and delicate flowers; but ... no open country, no fresh air, no blue hill, no bonny beck'.^[42][43]

Austen for her part thought the 'playfulness and epigrammaticism' of Pride and Prejudice was excessive, complaining in a letter to her sister Cassandra in 1813 that the novel lacked 'shade' and should have had a chapter 'of solemn specious nonsense, about something unconnected with the story; an essay on writing, a critique on Walter Scott or the history of Bounaparté'.^[44]

Walter Scott wrote in his journal 'Read again and for the third time at least, Miss Austen’s very finely written novel of Pride and Prejudice..'^[45]

20th century[edit]

You could not shock her more than she shocks me,
Beside her Joyce seems innocent as grass.
It makes me most uncomfortable to see
An English spinster of the middle class
Describe the amorous effects of 'brass',
Reveal so frankly and with such sobriety
The economic basis of society.

The American scholar Claudia Johnson defended the novel from the criticism that it has an unrealistic fairy-tale quality.^[46] One critic, Mary Poovey, wrote the 'romantic conclusion' of Pride and Prejudice is an attempt to hedge the conflict between the 'individualistic perspective inherent in the bourgeois value system and the authoritarian hierarchy retained from traditional, paternalistic society'.^[46] Johnson wrote that Austen's view of a power structure capable of reformation was not an 'escape' from conflict.^[46] Johnson wrote the 'outrageous unconventionality' of Elizabeth Bennet was in Austen's own time very daring, especially given the strict censorship that was imposed in Britain by the Prime Minister, William Pitt, in the 1790s when Austen wrote Pride and Prejudice.^[46]

21st century[edit]

• In 2003 the BBC conducted a poll for the 'UK's Best-Loved Book' in which Pride and Prejudice came second, behind The Lord of the Rings.^[47]
• In a 2008 survey of more than 15,000 Australian readers, Pride and Prejudice came first in a list of the 101 best books ever written.^[48]
• The 200th anniversary of Pride and Prejudice on 28 January 2013 was celebrated around the globe by media networks such as the Huffington Post, The New York Times, and The Daily Telegraph, among others.^{[49][50][51][52][53][54][55]}
• Pride and Prejudice is one of Five Books most recommended books with philosophers, literary scholars, authors and journalists citing it as an influential text.^[56]

Adaptations[edit]

Film, television and theatre[edit]

Pride and Prejudice has engendered numerous adaptations. Some of the notable film versions include that of 1940, starring Greer Garson and Laurence Olivier^[57] (based in part on Helen Jerome's 1936 stage adaptation) and that of 2005, starring Keira Knightley (an Oscar-nominated performance) and Matthew Macfadyen.^[58] Notable television versions include two by the BBC: a 1980 version starring Elizabeth Garvie and David Rintoul and the popular 1995 version, starring Jennifer Ehle and Colin Firth.

A 1936 stage version was created by Helen Jerome played at the St James's Theatre in London, starring Celia Johnson and Hugh Williams. First Impressions was a 1959 Broadway musical version starring Polly Bergen, Farley Granger, and Hermione Gingold.^[59] In 1995, a musical concept album was written by Bernard J. Taylor, with Claire Moore in the role of Elizabeth Bennet and Peter Karrie in the role of Mr Darcy.^[60] A new stage production, Jane Austen's Pride and Prejudice, The New Musical, was presented in concert on 21 October 2008 in Rochester, New York, with Colin Donnell as Darcy.^[61] The Swedish composer Daniel Nelson based his 2011 operaStolthet och fördom on Pride and Prejudice.^[62]

The Lizzie Bennet Diaries - which premiered on a dedicated YouTube channel on April 9, 2012,^[63] and concluded on March 28, 2013^[64] - is an Emmy award-winning web-series^[65] which recounts the story via vlogs recorded primarily by the Bennet sisters.^[66][67] It was created by Hank Green and Bernie Su.^[68]

Literature[edit]

The novel has inspired a number of other works that are not direct adaptations. Books inspired by Pride and Prejudice include the following:

• Mr Darcy's Daughters and The Exploits and Adventures of Miss Alethea Darcy by Elizabeth Aston
• Darcy's Story (a best seller) and Dialogue with Darcy by Janet Aylmer
• Pemberley: Or Pride and Prejudice Continued and An Unequal Marriage: Or Pride and Prejudice Twenty Years Later by Emma Tennant
• The Book of Ruth by Helen Baker
• Jane Austen Ruined My Life and Mr. Darcy Broke My Heart by Beth Pattillo
• Precipitation – A Continuation of Miss Jane Austen's Pride and Prejudice by Helen Baker
• Searching for Pemberley by Mary Simonsen
• Mr. Darcy Takes a Wife and its sequel Darcy & Elizabeth: Nights and Days at Pemberley by Linda Berdoll

In Gwyn Cready's comedic romance novel, Seducing Mr Darcy, the heroine lands in Pride and Prejudice by way of magic massage, has a fling with Darcy and unknowingly changes the rest of the story.

Abigail Reynolds is the author of seven Regency-set variations on Pride and Prejudice. Her Pemberley Variations series includes Mr Darcy's Obsession, To Conquer Mr Darcy, What Would Mr Darcy Do and Mr Fitzwilliam Darcy: The Last Man in the World. Her modern adaptation, The Man Who Loved Pride and Prejudice, is set on Cape Cod.^[69]

Bella Breen is the author of four variations on Pride and Prejudice. Pride and Prejudice and Poison, Pride and Prejudice and Secrets, Forced to Marry and The Rescue of Elizabeth Bennet.^[70]

Helen Fielding's 1996 novel Bridget Jones's Diary is also based on Pride and Prejudice; the feature film of Fielding's work, released in 2001, stars Colin Firth, who had played Mr Darcy in the successful 1990s TV adaptation.

In March 2009, Seth Grahame-Smith's Pride and Prejudice and Zombies takes Austen's work and mashes it up with zombie hordes, cannibalism, ninja and ultraviolent mayhem.^[71] In March 2010, Quirk Books published a prequel by Steve Hockensmith that deals with Elizabeth Bennet's early days as a zombie hunter, Pride and Prejudice and Zombies: Dawn of the Dreadfuls.^[72] The 2016 film of Grahame-Smith's adaptation was released starring Lily James, Sam Riley and Matt Smith.

In 2011, author Mitzi Szereto expanded on the novel in Pride and Prejudice: Hidden Lusts, a historical sex parody that parallels the original plot and writing style of Jane Austen.

Marvel has also published their take on this classic by releasing a short comic series of five issues that stays true to the original storyline. The first issue was published on 1 April 2009 and was written by Nancy Hajeski.^[73] It was published as a graphic novel in 2010 with artwork by Hugo Petrus.

Pamela Aidan is the author of a trilogy of books telling the story of Pride and Prejudice from Mr Darcy's point of view: Fitzwilliam Darcy, Gentleman. The books are An Assembly Such as This,^[74]Duty and Desire^[75] and These Three Remain.^[76]

Detective novel author P. D. James has written a book titled Death Comes to Pemberley, which is a murder mystery set six years after Elizabeth and Darcy's marriage.^[77]

Sandra Lerner's sequel to Pride and Prejudice, Second Impressions, develops the story and imagined what might have happened to the original novel's characters. It is written in the style of Austen after extensive research into the period and language and published in 2011 under the pen name of Ava Farmer.^[78]

Jo Baker's bestselling 2013 novel Longbourn imagines the lives of the servants of Pride and Prejudice.^[79] A cinematic adaptation of Longbourn was due to start filming in late 2018, directed by Sharon Maguire, who also directed Bridget Jones's Diary and Bridget Jones's Baby, screenplay by Jessica Swale, produced by Random House Films and StudioCanal.^[80] The novel was also adapted for radio, appearing on BBC Radio 4's Book at Bedtime, abridged by Sara Davies and read by Sophie Thompson. It was first broadcast in May 2014; and again on Radio 4 Extra in September 2018.^[81]

In the novel Eligible, Curtis Sittenfeld sets the characters of Pride and Prejudice in modern-day Cincinnati, where the Bennet parents, erstwhile Cincinnati social climbers, have fallen on hard times. Elizabeth, a successful and independent New York journalist, and her single older sister Jane must intervene to salvage the family's financial situation and get their unemployed adult sisters to move out of the house and onward in life. In the process they encounter Chip Bingley, a young doctor and reluctant reality TV celebrity, and his medical school classmate, Fitzwilliam Darcy, a cynical neurosurgeon.^[82]

Pride and Prejudice has also inspired works of scientific writing. In 2010, scientists named a pheromone identified in male mouse urine darcin,^[83] after Mr Darcy, because it strongly attracted females. In 2016, a scientific paper published in the Journal of Inherited Metabolic Diseases speculated that Mrs Bennet may have been a carrier of a rare genetic disease, explaining why the Bennets didn't have any sons, and why some of the Bennet sisters are so silly.^[84]

In summer 2014, Udon Entertainment's Manga Classics line published a manga adaptation of Pride and Prejudice.^[85]

See also[edit]

References[edit]

1. ^'Monstersandcritics.com'. Monstersandcritics.com. 7 May 2009. Archived from the original on 26 October 2009. Retrieved 27 January 2012.
2. ^'Austen power: 200 years of Pride and Prejudice'. The Independent. 19 January 2013. Retrieved 7 December 2018.
3. ^Looser, Devoney (2017). The Making of Jane Austen. Baltimore, MD: Johns Hopkins University Press. p. 76. ISBN978-1421422824.
4. ^Pride and Prejudice and Zombies, retrieved 25 June 2019
5. ^ ^abAusten, Jane (1993). Pride and Prejudice. Hertfordshire: Wordsworth Editions Limited. ISBN9781853260001.
6. ^Janet M. Todd (2005), Books.Google.com, Jane Austen in Context, Cambridge University Press p. 127
7. ^Runcie, Charlotte (20 June 2018). 'Could Mr Darcy afford a stately home today?'. The Telegraph. Retrieved 20 June 2018.
8. ^ ^abTauchert, Ashley (2003). 'Mary Wollstonecraft and Jane Austen: 'Rape' and 'Love' as (Feminist) Social Realism and Romance'. Women. 14 (2): 144. doi:10.1080/09574040310107.
9. ^No love for Lydia: The fate of desire in Pride and Prejudice Allen DW 1985.
10. ^Chang, Hui-Chun (2014). 'The Impact of the Feminist Heroine: Elizabeth in Pride and Prejudice'. International Journal of Applied Linguistics & English Literature. 3 (3): 76–82. doi:10.7575/aiac.ijalel.v.3n.3p.76.
11. ^Fox, Robert C. (September 1962). 'Elizabeth Bennet: Prejudice or Vanity?'. Nineteenth-Century Fiction. 17 (2): 185–187. doi:10.2307/2932520. JSTOR2932520.
12. ^'pride, n.¹'. Oxford English Dictionary (3rd ed.). Oxford University Press. September 2005.(Subscription or UK public library membership required.)
13. ^ ^abDexter, Gary (10 August 2008). 'How Pride And Prejudice got its name'. The Daily Telegraph. Retrieved 27 April 2015.
14. ^Burney, Fanny (1782). Cecilia: Or, Memoirs of an Heiress. T. Payne and son and T. Cadell. pp. 379–380.
15. ^ ^abcPinion, F B (1973). A Jane Austen. Companion. Macmillan. ISBN978-0-333-12489-5.
16. ^Austen, Jane. Pride and Prejudice, Ch 61.
17. ^Quindlen, Anna (1995). Introduction. Pride and Prejudice. By Austen, Jane. New York: Modern Library. p. vii. ISBN978-0-679-60168-5.
18. ^Austen, Jane. Pride and Prejudice, Ch 1.
19. ^Gao, Haiyan (February 2013). 'Jane Austen's Ideal Man in Pride and Prejudice'. Theory and Practice in Language Studies. 3 (2): 384–388. doi:10.4304/tpls.3.2.384-388.
20. ^Austen, Jane (1813). Pride and Prejudice. p. 3.
21. ^Chung, Ching-Yi (July 2013). 'Gender and class oppression in Jane Austen's Pride and Prejudice'. IRWLE. 9 (2).
22. ^Michie, Elsie B. 'Social Distinction in Jane Austen, Pride and Prejudice, 1813, edited by Donald Gray and Mary A. Favret, fourth Norton critical edition (2016). pp. 370–81.
23. ^Doody, Margaret (14 April 2015). Jane Austen's Names: Riddles, Persons, Places. University of Chicago Press. p. 72. ISBN9780226196022. Retrieved 27 January 2018.
24. ^Austen, Jane. '36'. Pride and Prejudice.
25. ^Tanner, Tony (1986). Knowledge and Opinion: Pride and Prejudice. Macmillan Education Ltd. p. 124. ISBN978-0333323175.
26. ^Austen, Jane (2016). Pride and Prejudice. W.W. Norton & Company Inc. p. 7. ISBN978-0-393-26488-3.
27. ^Tanner, Tony (1986). Knowledge and Opinion: Pride and Prejudice. Macmillan Education Ltd. p. 124. ISBN978-0333323175.
28. ^ ^abMiles, Robert (2003). Jane Austen. Writers and Their Work. Tavistock: Northcote House in association with the British Council. ISBN978-0-7463-0876-9.
29. ^Baker, Amy. 'Caught In The Act Of Greatness: Jane Austen's Characterization Of Elizabeth And Darcy By Sentence Structure In Pride and Prejudice.' Explicator 72.3 (2014): 169–178. Academic Search Complete. Web. 16 February 2016.
30. ^Fletcher, Angus; Benveniste, Mike (Winter 2013). 'A Scientific Justification for Literature: Jane Austen's Free Indirect Style as Ethical Tool'. Journal of Narrative Theory. 43 (1): 13. doi:10.1353/jnt.2013.0011.
31. ^'History of Goodnestone'. Goodnestone Park Gardens. Retrieved 26 August 2010.
32. ^ ^abcLe Faye, Deidre (2002). Jane Austen: The World of Her Novels. New York: Harry N. Abrams. ISBN978-0-8109-3285-2.
33. ^ ^abcRogers, Pat, ed. (2006). The Cambridge Edition of the Works of Jane Austen: Pride and Prejudice. Cambridge University Press. ISBN978-0-521-82514-6.
34. ^Irvine, Robert Jane Austen, London: Routledge, 2005 page 57.
35. ^Irvine, Robert Jane Austen, London: Routledge, 2005, pp. 56–57.
36. ^This theory is defended in 'Character and Caricature in Jane Austen' by DW Harding in Critical Essays on Jane Austen (BC Southam Edition, London 1968) and Brian Southam in Southam, B.C. (2001). Jane Austen's literary manuscripts : a study of the novelist's development through the surviving papers (New ed.). London: the Athlone press / Continuum. pp. 58–59. ISBN9780826490704.
37. ^Irvine, Robert (2005). Jane Austen. London: Routledge. p. 56. ISBN978-0-415-31435-0.
38. ^ ^abcdStafford, Fiona (2004). 'Notes on the Text'. Pride and Prejudice. Oxford World's Classics (ed. James Kinley). Oxford University Press. ISBN978-0-19-280238-5.
39. ^ ^abcFergus, Jan (1997). 'The professional woman writer'. In Copeland, E.; McMaster, J. (eds.). The Cambridge Companion to Jane Austen. Cambridge University Press. ISBN978-0-521-49867-8.
40. ^Howse, Christopher (28 December 2012). 'Anniversaries of 2013'. Daily Telegraph.
41. ^Cossy, Valérie; Saglia, Diego (2005). Todd, Janet (ed.). Translations. Jane Austen in Context. Cambridge University Press. ISBN978-0-521-82644-0.
42. ^ ^abcSoutham, B. C. (ed) (1995). Jane Austen: The Critical Heritage. 1. New York: Routledge. ISBN978-0-415-13456-9.CS1 maint: extra text: authors list (link)
43. ^Barker, Juliet (2016). The Brontës : a life in letters. Barker, Juliet R. V. (2016 ed.). London. ISBN978-1408708316. OCLC926822509.
44. ^Johnson, Claudia Jane Austen, Chicago: University of Chicago Press, 1988 page 73.
45. ^1771-1832., Scott, Walter (1998). The journal of Sir Walter Scott. Anderson, W. E. K. Edinburgh: Canongate. ISBN0862418283. OCLC40905767.
46. ^ ^abcdJohnson, Claudia Jane Austen, Chicago: University of Chicago Press, 1988 page 74.
47. ^'BBC – The Big Read – Top 100 Books'. May 2003. Retrieved 12 May 2008.
48. ^'Aussie readers vote Pride and Prejudice best book'. thewest.com.au. Archived from the original on 29 May 2008. Retrieved 24 February 2008.
49. ^'200th Anniversary of Pride And Prejudice: A HuffPost Books Austenganza'. The Huffington Post. 28 January 2013.
50. ^Schuessler, Jennifer (28 January 2013). 'Austen Fans to Celebrate 200 Years of Pride and Prejudice'. The New York Times. Retrieved 7 February 2015.
51. ^'Video: Jane Austen celebrated on 200th anniversary of Pride and Prejudice publication'. Telegraph.co.uk. 28 January 2013.
52. ^ABC News. ''Pride and Prejudice' 200th Anniversary'. ABC News.
53. ^'Queensbridge Publishing: Pride and Prejudice 200th Anniversary Edition by Jane Austen'. queensbridgepublishing.com.
54. ^Kate Torgovnick May (28 January 2013). 'Talks to celebrate the 200th anniversary of Pride and Prejudice'. TED Blog.
55. ^Rothman, Lily. 'Happy 200th Birthday, Pride & Prejudice...and Happy Sundance, Too: The writer/director of the Sundance hit 'Austenland' talks to TIME about why we still love Mr. Darcy centuries years later'. Time. Retrieved 7 February 2015.
56. ^Books, Five. 'Pride and Prejudice | Five Books Expert Recommendations'. Five Books. Retrieved 11 March 2019.
57. ^Pride and Prejudice (1940) on IMDb
58. ^Pride and Prejudice (2005) on IMDb
59. ^'First Impressions the Broadway Musical'. Janeaustensworld.wordpress.com. 6 November 2008. Retrieved 27 January 2012.
60. ^'Pride and Prejudice (1995)'. Bernardjtaylor.com. Archived from the original on 7 February 2012. Retrieved 27 January 2012.
61. ^'PRIDE AND PREJUDICE, the Musical'. prideandprejudicemusical.com.
62. ^Stolthet och fördom / Pride and Prejudice (2011), work details
63. ^'Episode 1: My Name is Lizzie Bennet'. The Lizzie Bennet Diaries. Retrieved 7 May 2013.
64. ^'Episode 100: The End'. The Lizzie Bennet Diaries. Retrieved 7 May 2013.
65. ^''Top Chef's' 'Last Chance Kitchen,' 'Oprah's Lifeclass,' the Nick App, and 'The Lizzie Bennet Diaries' to Receive Interactive Media Emmys'. yahoo.com. 22 August 2013.
66. ^Hasan, Heba (24 April 2012). 'Pride and Prejudice, the Web Diary Edition'. Time. Retrieved 16 August 2012.
67. ^Koski, Genevieve (3 May 2012). 'Remember Pride And Prejudice? It's back, in vlog form!'. The A.V. Club. Retrieved 16 August 2012.
68. ^Matheson, Whitney (4 May 2012). 'Cute Web series: 'The Lizzie Bennet Diaries''. USA Today. Retrieved 16 August 2012.
69. ^'Abigail Reynolds Author Page'. Retrieved 27 July 2012.
70. ^'Bella Breen Author Page'. Retrieved 20 February 2019.
71. ^Grossman, Lev (April 2009). 'Pride and Prejudice, Now with Zombies'. TIME. Retrieved 26 April 2009.
72. ^'Quirkclassics.com'. Quirkclassics.com. Retrieved 27 January 2012.
73. ^'Marvel.com'. Marvel.com. Archived from the original on 24 July 2010. Retrieved 27 January 2012.
74. ^Aidan, Pamela (2006). An Assembly Such as This. Touchstone. ISBN978-0-7432-9134-7.
75. ^Aidan, Pamela (2004). Duty and Desire. Wytherngate Press. ISBN978-0-9728529-1-3.
76. ^Aidan, Pamela (2007). These Three Remain. Simon and Schuster. ISBN978-0-7432-9137-8.
77. ^Hislop, Victoria. Death Comes to Pemberley: Amazon.co.uk: Baroness P. D. James: 9780571283576: Books. ASIN0571283578.
78. ^Farmer, Ava (2011). Second Impressions. Chawton, Hampshire, England: Chawton House Press. ISBN978-1613647509.
79. ^Baker, Jo (8 October 2013). Longbourn. Alfred A. Knopf. ISBN978-0385351232.
80. ^'New direction for 'literary chameleon' Jo Baker to Transworld - The Bookseller'. www.thebookseller.com.
81. ^'Jo Baker - Longbourn, Book at Bedtime - BBC Radio 4'. BBC.
82. ^Sittenfeld, Curtis (19 April 2016). Eligible. Random House. ISBN978-1400068326.
83. ^Roberts, Sarah A.; Simpson, Deborah M.; Armstrong, Stuart D.; Davidson, Amanda J.; Robertson, Duncan H.; McLean, Lynn; Beynon, Robert J.; Hurst, Jane L. (1 January 2010). 'Darcin: a male pheromone that stimulates female memory and sexual attraction to an individual male's odour'. BMC Biology. 8: 75. doi:10.1186/1741-7007-8-75. ISSN1741-7007. PMC2890510. PMID20525243.
84. ^Stern, William (1 March 2016). 'Pride and protein'. Journal of Inherited Metabolic Disease. 39 (2): 321–324. doi:10.1007/s10545-015-9908-7. ISSN1573-2665. PMID26743057.
85. ^Manga Classics: Pride and Prejudice (2014) UDON Entertainment ISBN978-1927925188

Pride And Prejudice 2005 Free

External links[edit]

Pride And Prejudice 2005 Free Full

• Media related to Pride and Prejudice at Wikimedia Commons
• Digital resources relating to Jane Austen from the British Library's Discovering Literature website
• Pride and Prejudice (Chapman edition) at Project Gutenberg
• Pride and Prejudice public domain audiobook at LibriVox

Watch Pride And Prejudice 2005 Free Online On Megavideo