Elizabeth Bennet - Wikipedia Elizabeth Bennet For other people with similar names, see Elizabeth Bennett. This article may be expanded with text translated from the corresponding article in French. ( August 2010 ) Click for important translation instructions. View a machine - translated version of the French article. Google 's machine translation is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy - pasting machine - translated text into the English Wikipedia. Do not translate text that appears unreliable or low - quality. If possible, verify the text with references provided in the foreign - language article. You must provide copyright attribution in the edit summary by providing an interlanguage link to the source of your translation. A model attribution edit summary ( using German ) : Content in this edit is translated from the existing German Wikipedia article at ( ( : de : Exact name of German article ) ) ; see its history for attribution. You should also add the template ( ( Translated fr Elizabeth Bennet ) ) to the talk page. For more guidance, see Wikipedia : Translation. Elizabeth Bennet Elizabeth Bennet, a fictional character appearing in the novel Pride and Prejudice, depicted by C.E. Brock Full name Elizabeth, Mrs Fitzwilliam Darcy Miss Elizabeth Bennet, formerly Gender Female Age 20 Income £ 50 per annum ( Interest on £ 1,000 from her mother 's fortune by settlement upon her death. ) Primary residence Longbourn, near Meryton, Hertfordshire Family Spouse ( s ) Fitzwilliam Darcy Romantic interest ( s ) Mr. William Collins Lt. George Wickham Col. Fitzwilliam Mr. Fitzwilliam Darcy Parents Mr. and Mrs. Bennet Sibling ( s ) Jane Bennet Mary Bennet Catherine `` Kitty '' Bennet Lydia Bennet Elizabeth and Mr. Darcy by Hugh Thomson, 1894 Elizabeth Bennet is the protagonist in the 1813 novel Pride and Prejudice by Jane Austen. She is often referred to as Eliza or Lizzy by her friends and family. Elizabeth is the second child in a family of five daughters. Though the circumstances of the time and environment push her to seek a marriage of convenience for economic security, Elizabeth wishes to marry for love. Elizabeth is regarded as the most admirable and endearing of Austen 's heroines. She is considered one of the most beloved characters in British literature because of her complexity. Austen herself described Elizabeth as `` as delightful a creature as ever appeared in print. '' Contents 1 Background 2 Analysis 2.1 An unconventional character 3 In popular culture 4 Depictions in film and television 4.1 Film 4.2 Television 5 References 6 Bibliography Background Elizabeth is the second eldest of the five Bennet sisters of the Longbourn estate, situated near the fictional market village of Meryton in Hertfordshire, England. She is 20 years old at the beginning of the novel. Elizabeth is described as an intelligent young woman, with `` a lively, playful disposition, which delighted in anything ridiculous ''. She often presents a playful good - natured impertinence that does not offend. Early in the novel she is depicted as being personally proud of her wit and her accuracy in judging the social behaviour and intentions of others. Her father is a landowner, but his daughters can not inherit because the estate is entailed upon the male line ( it can only be inherited by male relatives ). Upon his death, Longbourn will therefore be inherited by his cousin and nearest male relation, Mr. William Collins, a clergyman for the Rosings Estate in Kent owned by Lady Catherine de Bourgh. This future provides the cause of Mrs. Bennet 's eagerness to have her daughters married off to wealthy men. Elizabeth is her father 's favourite, described by him as having `` something more of quickness than her sisters ''. In contrast, she is the least dear to her mother, especially after Elizabeth refuses a marriage proposal from Mr Collins. Her mother tends to contrast her negatively with her sisters Jane and Lydia, whom she considers superior in beauty and disposition, respectively, and does not understand her father 's preference. Elizabeth is often upset and embarrassed by the impropriety and silliness of her mother and three younger sisters. Within her neighbourhood Elizabeth is considered a beauty and a charming young woman with `` fine eyes '', to which Mr. Darcy is first drawn. Darcy is later attracted more particularly to her `` light and pleasing '' figure, the `` easy playfulness '' of her manners, her mind and personality, and eventually considers her `` one of the handsomest women '' in his acquaintance. Analysis From the beginning, opinions have been divided on the character, Anne Isabella Milbanke gave a glowing review of the novel, while Mary Russell Mitford criticizes Elizabeth 's lack of taste. The modern exegetes are torn between admiration for the vitality of the character and the disappointment of seeing Elizabeth intentionally suppress her verve and submit, at least outwardly, to male authority. In Susan Fraiman 's essay ' The Humiliation of Elizabeth Bennett ', the author criticises the fact that Elizabeth must forgo her development as a woman in order to ensure the success of `` ties among men ( such as her father and Darcy ) with agendas of their own. '' The Bennet sisters have only a relatively small dowry of £ 1, 000 pounds and as their family 's estate will pass out of their hands when their father dies, the family faces a major social decline, giving the Bennet girls a very short timeline to find a husband. About feminist criticism of the character, the French critic Roger Martin du Gard wrote that primary purpose of Austen was to provide jouissance ( enjoyment ) to her readers, not preach, but the character of Elizabeth is able to maneuver within the male - dominated power structure of Regency England to assert her interests in a system that favors her father, Mr. Darcy and the other male characters. Gard noted that the novel hardly glorifies patriarchy since it is strongly implied that was the financial irresponsibility of Mr. Bennet that has placed his family in a precarious social position. Furthermore, it is Elizabeth who criticises her father for not doing more to teach her sisters Lydia and Catherine the value of a good character, which Mr. Bennet disregards, leading to Lydia 's eloping with Wickham. Unlike the more superficial and / or selfish characters like Lydia, Wickham, Mr. Collins, and Charlotte, who regard marriage as a simple matter of satisfying their own desires, for the more mature Elizabeth marriage is the cause of much reflection and serious thought on her part. The British literacy critic Robert Irvine stated that the reference in the novel to the militia being mobilised and lacking sufficient barracks, requiring them to set up camps in the countryside dates the setting of the novel to the years 1793 - 1795 as the militia was moblised in 1793 after France declared war on the United Kingdom and the last of the barracks for the militia were completed by 1796. Irvine argued that a central concern in Britain in the 1790s, when Austen wrote the first draft of Pride and Prejudice under the title First Impressions was the need for British elites, both national and regional to rally around the flag in face of the challenge from revolutionary France. It is known that Austen was working on First Impressions by 1796 ( it is not clear when she began working on the book ) and finished off First Impressions in 1797. Irvine states while the character of Elizabeth is a clearly middle - class while Mr. Darcy is part of the aristocracy. Irvine wrote `` Elizabeth, in the end, is awed by Pemberly, and her story ends with her delighted submission to Darcy in marriage. It is gratitude that forms the foundation of Elizabeth Bennet 's love for Fitzwilliam Darcy : caught in a reciprocal gaze with Darcy 's portrait at Pemberly, impressed with the evidence of his social power that surrounds her, Elizabeth ' thought of his regard with a deeper sentiment of gratitude than it had ever raised before '... Elizabeth 's desire for Darcy does not happen despite the difference in their social situation : it is produced by that difference, and can be read as a vindication of the hierarchy which constructs that difference in the first place ''. Irvine observes that Darcy spends about half his time in London while for people in Meryton London is a stylish place that is very far away, observing that a key difference is when one of the Bennett family is ill, they use the services of a local apothecary while Mr. Darcy calls upon a surgeon from London. In this regard, Irvine argued that the marriage of Elizabeth and Darcy stands for the union of local and national elites in Britain implicitly against the challenge to the status quo represented by the French republic. By contrast, the American scholar Rachel Brownstein argued that Elizabeth rejects two offers of marriage by the time she arrives at Pemberley, and notes in rejecting Mr. Collins that the narrator of the novel paraphrases the feminist Mary Wollstonecraft that Elizabeth can not love him because she is `` a rational creature speaking the truth from her heart ''. Brownstein notes that it after she reads Darcy 's letter following her first rejection of him that leads her to say `` Till this moment, I never knew myself ''. Brownstein further states that Austen has it both ways in depicting Elizabeth as she uses much irony. After Elizabeth rejects Darcy and then realizes she loves him, she comments `` no such happy marriage could now teach the admiring multitude what connubial felicity really was '' as if she herself is aware that she is a character in a romance novel. Later, she tells Darcy in thanking him for paying off Wickham 's debts and ensuring Lydia 's marriage might be wrong `` for what become of the moral, if our comfort springs from a breach of promise, for I ought not to have mentioned the subject ? ''. Brownstein argues that Austen 's ironical way of depicting Elizabeth allows her to present her heroine as both a `` proto - feminist '' and a `` fairy - tale heroine ''. Susan Morgan regards Elizabeth 's major flaw to be that she is `` morally disengaged '' - taking much of her philosophy from her father, Elizabeth observes her neighbours, never becoming morally obligated to make a stand. Elizabeth sees herself as an ironic observer of the world, making fun of those around her. Bennett 's self - destination is one of skepticism and opposition to the world around her, and much of the novel concerns Bennett 's struggle to find her own place in a world she rejects. At one point, Elizabeth tells Darcy : `` Follies and nonsense, whims and inconsistencies do divert me, I own, and I laught at them whenever I can ''. Though Elizabeth is portrayed as intelligent, she often misjudges people around her because of her naivety - for example, misunderstanding the social pressures on her friend Charlotte to get married, is taken in completely for a time by Wickham and misjudges Darcy 's character. After hearing Wickham 's account disparaging Darcy 's character, and being advised by her sister Jane not to jump to conclusions, Elizabeth confidently tells her `` I beg your pardon - one knows exactly what to think ''. However, Elizabeth is able to see, albeit belatedly, that Wickham had mislead her about Darcy, admitting she was too influenced by `` every charm of air and address ''. Gary Kelly argued that Austen as the daughter of a Church of England minister would have been very familiar with the Anglican view of life as a `` romantic journey '' in which God watches over stories of human pride, folly, fall and redemption by free will and the ability to learn from one 's mistakes. Kelly argued that aspects of the Anglican understanding of life and the universe can be seen in Elizabeth who after rejecting Darcy and then receives his letter explaining his actions rethinks her view of him, and comes to understand that her pride and prejudice had blinded her to who he really was, marking the beginning of her romantic journey of `` suffering and endurance '' that ends happily for her. After seeing Pemberley, Elizabeth realizes Darcy 's good character, and as a chance to become part of society without compromising her values. At Pemberley, Elizabeth sees the `` whole scene '' from one viewpoint and then sees the `` objects were taking different positions '' from another viewpoint while remaining beautiful, which is a metaphor for her subjectivity had influenced her view of the world. Like other Austen heroines, Elizabeth likes to escape into the gardens and nature in general when under pressure. For Austen, gardens were not only places of reflection and relaxation, but also symbols of femininity and of England... The American scholar Alison Sulloway wrote : `` Austen had seen and suffered enough causal exploitation so that she took the pastoral world under her tender but unobtrusive fictional protection, just as she felt protective towards human figures under the threat of abuse or neglect ''... Beyond that, Napoleon had often talked of desire to make England 's fair gardens and fields his own, speaking if England ``... was a mere woman, ripe for his exploitation '', so for Austen, the beauty of the English countryside served as a symbol of the England her brothers serving in the Royal Navy were fighting to protect. Elizabeth 's connection with nature leads to appreciate the beauty of Pemberley, which allows hers to see the good in Darcy. In the early 19th century, there was a genre of `` conduct books '' settling out what were the rules for `` propriety '' for young women, and the scholar Mary Poovey argued in her 1984 book The Proper Lady and the Woman Writer examining the `` conduct books '' noted one of the main messages was that a `` proper young lady '' never expresses any sexual desire for a man. Poovey argued that in this context that Elizabeth 's wit is a merely her ways of defending herself from the rules of `` propriety '' set out by the conduct books as opposed of being a subversive force. In this regard, Poovey argued that Austen played it safe by having Elizabeth abandon her wit when she falls in love with Darcy, taking her struggle into effort to mortify Darcy 's pride instead of seeking him out because she loves him. The conduct books had a double meaning of the word modesty, which meant both to be outwardly polite in one 's conduct and to be ignorant of one 's sexuality. This double meaning of modesty placed women in a bind, since any young woman who outwardly conformed to expectations of modesty was not really modest at all, as she was attempting to hide her awareness of sexuality. In the novel, when Elizabeth rejects Mr. Collins 's marriage proposal, she explains she is being modest in rejecting an offer from a man she can not love, which leads her to be condemned for not really being modest. An unconventional character In her letter to Cassandra dated 29 January 1813, Jane Austen wrote : `` I must confess that I think her as delightful a creature as ever appeared in print, and how I shall be able to tolerate those who do not like her at least I do not know ''. Austen herself wrote to Cassandra about one fan of her books that `` Her liking Darcy & Elizth is enough ''. The book notes that `` Follies and nonsense, whims and inconsistencies '' are what delight Elizabeth, which Brownstein noted also applied to Austen as well. This mix of energy and intelligence, and her gaiety and resilience make Elizabeth a true Stendhal heroine according to Tony Tanner, and he adds that there are not many English heroines that we can say that of. Elizabeth Bowen, however, found her charmless, whilst to Gervase Fen she and her sisters were `` intolerable... those husband - hunting minxes in Pride and Prejudice ''. In popular culture The character of Elizabeth Bennet, marked by intelligence and independent thinking, and her romance with the proud Mr Darcy have carried over into various theatrical retellings. Helen Fielding 's novel Bridget Jones 's Diary, as well as the film series of the same name, is a modern adaptation of Pride and Prejudice, with Elizabeth as Renée Zellweger 's title character. In Gurinder Chadha 's Bollywood adaptation, Bride and Prejudice, Aishwarya Rai plays the Elizabeth character, Lalita Bakshi. In the 2008 television film Lost in Austen, actress Gemma Arterton plays a version of Lizzy who switches places with a modern - day young woman. Lily James starred as the zombie - slaying Elizabeth Bennet in the film version of Pride and Prejudice and Zombies, a popular novel by Seth Grahame - Smith. One of the most notable portrayals of the character has been that of Keira Knightley in Pride & Prejudice, directed by Joe Wright. Knightley received a Best Actress Oscar nomination for her performance. The character has most recently been used in The Lizzie Bennet Diaries, a project which is partly headed by YouTube vlogger Hank Green, and depicts Elizabeth ( played by Ashley Clements ) as a modern - day woman in America posting video blogs about her life along with her friend ' Charlotte Lu ' a character based on Charlotte Lucas. Depictions in film and television Further information : Jane Austen in popular culture § Pride and Prejudice Film Year Actress Role Film Notes 1940 Greer Garson Elizabeth Bennet Pride and Prejudice 2003 Kam Heskin Elizabeth Bennet Pride & Prejudice : A Latter - Day Comedy A Modern adaptation of Pride and Prejudice. Aishwarya Rai Lalita Bakshi Bride and Prejudice A Bollywood - inspired adaptation of Pride and Prejudice. 2005 Keira Knightley Elizabeth Bennet Pride & Prejudice Nominated -- Academy Award for Best Actress Nominated -- Golden Globe Award for Best Actress -- Motion Picture Musical or Comedy Nominated -- Satellite Award for Best Actress -- Motion Picture Musical or Comedy Nominated -- Empire Award for Best Actress Nominated -- Broadcast Film Critics Association Award for Best Actress Nominated -- Chicago Film Critics Association Award for Best Actress Nominated -- London Film Critics ' Circle Award for British Actress of the Year Nominated -- Online Film Critics Society Award for Best Actress Nominated -- Washington D.C. Area Film Critics Association Award for Best Actress 2016 Lily James Elizabeth Bennet Pride and Prejudice and Zombies Based on the parody novel by Seth Grahame - Smith. Television Year Actress Role Television programme Notes 1938 Curigwen Lewis Elizabeth Bennet Pride and Prejudice Television film 1949 Madge Evans Elizabeth Bennet The Philco Television Playhouse Season 1, episode 17 : `` Pride and Prejudice '' 1952 Daphne Slater Elizabeth Bennet Pride and Prejudice TV mini-series 1957 Virna Lisi Elisabeth Bennet Orgoglio e pregiudizio An adaptation in Italian. 1958 Jane Downs Elizabeth Bennet Pride and Prejudice TV mini-series Kay Hawtrey Elizabeth Bennet General Motors Theatre Episode : `` Pride and Prejudice ''. Originally aired 21 December. 1961 Lies Franken Elizabeth Bennet De vier dochters Bennet An adaptation in Dutch. 1967 Celia Bannerman Elizabeth Bennet Pride and Prejudice 6 - episode television series. 1980 Elizabeth Garvie Elizabeth Bennet Pride and Prejudice 5 - episode television series. 1995 Jennifer Ehle Elizabeth Bennet Pride and Prejudice Six - episode television series. Won - British Academy Television Award for Best Actress Dee Hannigan Elizabeth Bennet Wishbone Season 1, episode 25 : `` Furst Impressions '' Julia Lloyd Elizabeth Bennet Red Dwarf Season 7, episode 6 : `` Beyond a Joke '' Lauren Tom Elizabeth Bennet Futurama Season 3, episode 10 : `` The Day the Earth Stood Stupid '' 2008 Gemma Arterton Elizabeth Bennet Lost in Austen A fantasy adaptation of Pride and Prejudice in which a modern woman trades places with Elizabeth Bennet. 2012 -- 2013 Ashley Clements Lizzie Bennet The Lizzie Bennet Diaries Web series. A modern adaptation in which the story of Pride and Prejudice is told through vlogs. 2013 Anna Maxwell Martin Elizabeth Darcy / Mrs Darcy Death Comes to Pemberley Three - part series based on P.D. James 's novel about events after Pride and Prejudice. 2018 Nathalia Dill Elisabeta Benedito Orgulho e Paixão A telenovela based on Jane Austen 's works. References Jump up ^ William Dean Howells 2009, p. 48 Jump up ^ `` SparkNotes : Pride and Prejudice : Analysis of Major Characters ''. sparknotes.com. Retrieved 19 September 2010. Jump up ^ Wright, Andrew H. `` Elizabeth Bennet. '' Elizabeth Bennet ( introduction by Harold Bloom ). Broomall : Chelsea House Publishers, 2004. 37 -- 38. Google Book Search. Web. 22 October 2011. Jump up ^ Pride and Prejudice. Chapter 29. Jump up ^ In a letter to Sir William Elford dated December 20, 1814. Jump up ^ Morrison, Robert, ed. ( 2005 ). Jane Austen 's Pride and prejudice : a sourcebook. New York, NY ( u.a. ) : Routledge. p. 83. ISBN 9780415268493. Jump up ^ Lydia Martin 2007, p. 201. Jump up ^ Fraiman, Susan ( 1993 ). Unbecoming Women : British Women Writers and the Novel of Development. Columbia University Press. p. 73. Jump up ^ MacDonagh, Oliver `` Minor Female Characters Depict Women 's Roles '' pages 85 - 93 from Readings on Pride and Prejudice edited by Clarice Swisher, San Diego : Greenhaven Press, 1999 page 88. Jump up ^ Gard, Roger `` Questioning the Merit of Pride and Prejudice '' pages 111 - 117 pages 85 - 93 from Readings on Pride and Prejudice edited by Clarice Swisher, San Diego : Greenhaven Press, 1999 page 88. Jump up ^ Gard, Roger `` Questioning the Merit of Pride and Prejudice '' pages 111 - 117 pages 85 - 93 from Readings on Pride and Prejudice edited by Clarice Swisher, San Diego : Greenhaven Press, 1999 page 88. Jump up ^ MacDonagh, Oliver `` Minor Female Characters Depict Women 's Roles '' pages 85 - 93 from Readings on Pride and Prejudice edited by Clarice Swisher, San Diego : Greenhaven Press, 1999 page 89. Jump up ^ Brown, Julia Prewit `` The Narrator 's Voice '' from Readings on Pride and Prejudice edited by Clarice Swisher, San Diego : Greenhaven Press, 1999 pages 103 - 110 page 109. Jump up ^ Irvine, Robert Jane Austen, London : Routledge, 2005 pages 56 - 57. Jump up ^ Irvine, Robert Jane Austen, London : Routledge, 2005 page 58. Jump up ^ Irvine, Robert Jane Austen, London : Routledge, 2005 pages 56. Jump up ^ Irvine, Robert Jane Austen, London : Routledge, 2005 pages 57 & 59. Jump up ^ Irvine, Robert Jane Austen, London : Routledge, 2005 page 59. Jump up ^ Irvine, Robert Jane Austen, London : Routledge, 2005 page 60. Jump up ^ Irvine, Robert Jane Austen, London : Routledge, 2005 pages 60 - 61. Jump up ^ Brownstein, Rachel `` Northanger Abbey, Sense and Sensibility, Pride and Prejudice '' pages 32 - 57 from The Cambridge Companion to Jane Austen, Cambridge : Cambridge University Press, 1997 page 53. Jump up ^ Brownstein, Rachel `` Northanger Abbey, Sense and Sensibility, Pride and Prejudice '' pages 32 - 57 from The Cambridge Companion to Jane Austen, Cambridge : Cambridge University Press, 1997 page 54. Jump up ^ Brownstein, Rachel `` Northanger Abbey, Sense and Sensibility, Pride and Prejudice '' pages 32 - 57 from The Cambridge Companion to Jane Austen, Cambridge : Cambridge University Press, 1997 page 54. Jump up ^ Brownstein, Rachel `` Northanger Abbey, Sense and Sensibility, Pride and Prejudice '' pages 32 - 57 from The Cambridge Companion to Jane Austen, Cambridge : Cambridge University Press, 1997 page 54. Jump up ^ Brownstein, Rachel `` Northanger Abbey, Sense and Sensibility, Pride and Prejudice '' pages 32 - 57 from The Cambridge Companion to Jane Austen, Cambridge : Cambridge University Press, 1997 page 54. Jump up ^ Morgan, Susan ( August 1975 ). `` Intelligence in `` Pride and Prejudice '' ``. Modern Philology. 73 ( 1 ) : 54 -- 68. JSTOR 436104. Jump up ^ Murdick, Marvin `` Irony as a Tool for Judging People '' pages 136 - 143 from Readings on Pride and Prejudice edited by Clarice Swisher, San Diego : Greenhaven Press, 1999 pages 136 - 137. Jump up ^ Irvine, Robert Jane Austen, London : Routledge, 2005, page 102. Jump up ^ Murdick, Marvin `` Irony as a Tool for Judging People '' pages 136 - 143 from Readings on Pride and Prejudice edited by Clarice Swisher, San Diego : Greenhaven Press, 1999 page 136. Jump up ^ Murdick, Marvin `` Irony as a Tool for Judging People '' pages 136 - 143 from Readings on Pride and Prejudice edited by Clarice Swisher, San Diego : Greenhaven Press, 1999 page 142. Jump up ^ Tave, Stuart `` Eliabeth and Darcy 's Mutual Mortification and Renewal '' pages 68 - 78 from Readings on Pride and Prejudice edited by Clarice Swisher, San Diego : Greenhaven Press, 1999 page 71. Jump up ^ Duckworth, Alistair `` Social moderation and the middle wary '' pages 42 - 51 from Readings on Pride and Prejudice edited by Clarice Swisher, San Diego : Greenhaven Press, 1999 page 46. Jump up ^ Kelly, Gary `` Religion and Politics '' pages 149 - 169 from The Cambridge Companion to Jane Austenedited by Edward Copeland and Juliet McMaster, Cambridge : Cambridge University Press, 1997 page 165. Jump up ^ Kelly, Gary `` Religion and Politics '' pages 149 - 169 from The Cambridge Companion to Jane Austenedited by Edward Copeland and Juliet McMaster, Cambridge : Cambridge University Press, 1997 page 166. Jump up ^ Duckworth, Alistair `` Social moderation and the middle wary '' pages 42 - 51 from Readings on Pride and Prejudice edited by Clarice Swisher, San Diego : Greenhaven Press, 1999 pages 46 - 47. Jump up ^ Duckworth, Alistair `` Social moderation and the middle wary '' pages 42 - 51 from Readings on Pride and Prejudice edited by Clarice Swisher, San Diego : Greenhaven Press, 1999 pages 48 - 49. Jump up ^ Sulloway, Alison `` The Significance of Gardens and Pastoral Scenes '' pages 119 - 127 from Readings on Pride and Prejudice edited by Clarice Swisher, San Diego : Greenhaven Press, 1999 pages 120 - 121. Jump up ^ Sulloway, Alison `` The Significance of Gardens and Pastoral Scenes '' pages 119 - 127 from Readings on Pride and Prejudice edited by Clarice Swisher, San Diego : Greenhaven Press, 1999 pages 119 - 120. Jump up ^ Sulloway, Alison `` The Significance of Gardens and Pastoral Scenes '' pages 119 - 127 from Readings on Pride and Prejudice edited by Clarice Swisher, San Diego : Greenhaven Press, 1999 page 120. Jump up ^ Sulloway, Alison `` The Significance of Gardens and Pastoral Scenes '' pages 119 - 127 from Readings on Pride and Prejudice edited by Clarice Swisher, San Diego : Greenhaven Press, 1999 pages 120 - 121. Jump up ^ Sulloway, Alison `` The Significance of Gardens and Pastoral Scenes '' pages 119 - 127 from Readings on Pride and Prejudice edited by Clarice Swisher, San Diego : Greenhaven Press, 1999 page 125. Jump up ^ Irvine, Robert Jane Austen, London : Routledge, 2005 page 126. Jump up ^ Irvine, Robert Jane Austen, London : Routledge, 2005 page 126. Jump up ^ Irvine, Robert Jane Austen, London : Routledge, 2005 page 126. Jump up ^ Irvine, Robert Jane Austen, London : Routledge, 2005 page 126. Jump up ^ Irvine, Robert Jane Austen, London : Routledge, 2005 page 126. Jump up ^ Irvine, Robert Jane Austen, London : Routledge, 2005 page 126. Jump up ^ `` Jane Austen -- Letters -- Other excerpts from letters in Austen - Leigh 's `` Memoir '' ``. pemberley.com. Jump up ^ Brownstein, Rachel `` Northanger Abbey, Sense and Sensibility, Pride and Prejudice '' pages 32 - 57 from The Cambridge Companion to Jane Austen, Cambridge : Cambridge University Press, 1997 page 51. Jump up ^ Brownstein, Rachel `` Northanger Abbey, Sense and Sensibility, Pride and Prejudice '' pages 32 - 57 from The Cambridge Companion to Jane Austen, Cambridge : Cambridge University Press, 1997 page 55. Jump up ^ Tanner, Tony ( 1986 ). Jane Austen. Cambridge, Mass. : Harvard University press. p. 105. ISBN 9780674471740. Jump up ^ Quoted in R. Jenkyns, A Fine Brush on Ivory ( Oxford 2007 ) p. 85 Jump up ^ Dave McNary. `` ' Pride and Prejudice and Zombies ' Casts Lily James, Sam Riley, Bella Heathcote ''. Variety. Bibliography Jane Austen portal Fictional characters portal Wikimedia Commons has media related to Pride and Prejudice. Austen, Jane ( 1907 ). Pride and Prejudice. Dent. Howells, William Dean ( 1901 ). Heroines of Fiction, Volume 1. Harper and Brothers. pp. 37 -- 48. Nardin, Jane ( 1973 ). Those Elegant Decorums : The Concept of Propriety in Jane Austen 's Novels. Albany : State University of New York Press. ISBN 0 - 87395 - 236 - 7. Jane Austen 's Pride and Prejudice Characters Bennet family Elizabeth Bennet Fitzwilliam Darcy William Collins Lady Catherine de Bourgh Mr. Wickham Films Pride and Prejudice ( 1940 ) Bridget Jones 's Diary ( 2001 ) Pride & Prejudice : A Latter - Day Comedy ( 2003 ) Bride and Prejudice ( 2004 film ) Pride & Prejudice ( 2005 ) Pride and Prejudice and Zombies ( 2016 ) Television Pride and Prejudice ( 1958 ) Pride and Prejudice ( 1967 ) Pride and Prejudice ( 1980 ) Trishna ( 1985 ) Pride and Prejudice ( 1995 ) Will be Somewhere ( 2004 ) Lost in Austen ( 2008 ) Death Comes to Pemberley ( 2013 ) Novels Darcy 's Story ( 1995 ) Bridget Jones 's Diary ( 1996 ) Mr. Darcy 's Daughters ( 2003 ) Fitzwilliam Darcy, Gentleman An Assembly Such as This ( 2003 ) Duty and Desire ( 2004 ) These Three Remain ( 2005 ) Austenland ( 2007 ) Love, Lies and Lizzie ( 2009 ) Pride and Prejudice and Zombies ( 2009 parody ) Pride and Prejudice and Zombies : Dawn of the Dreadfuls ( 2010 parody ) Death Comes to Pemberley ( 2011 ) Other First Impressions ( 1959 musical ) Pride and Prejudice ( 1993 musical ) Beyond a Joke ( 1997 ) Stolthet och fördom ( 2011 opera ) The Lizzie Bennet Diaries ( 2012 web series ) Austenland ( 2013 film ) See also Pride & Prejudice ( soundtrack ) Pemberley List of literary adaptations Jane Austen Timeline Works Major Sense and Sensibility ( 1811 ) Pride and Prejudice ( 1813 ) Mansfield Park ( 1814 ) Emma ( 1815 ) Northanger Abbey ( 1817 ) Persuasion ( 1817 ) Minor Lady Susan Sanditon ( unfinished ) The Watsons ( unfinished ) Plan of a Novel Juvenilia Love and Freindship The Beautifull Cassandra The History of England Catherine, or The Bower Places Jane Austen Centre Jane Austen 's House Museum Chawton House Chawton House Library People Cassandra Austen Charles Austen Francis Austen Henry Thomas Austen Edward Austen Knight Edward Knight George Thomas Knight Henry Knight Eliza Hancock Catherine Hubback Thomas Langlois Lefroy Martha Lloyd Analysis Janeite Jane Austen in popular culture Styles and themes of Jane Austen Georgian society in Jane Austen 's novels Reception history of Jane Austen A Memoir of Jane Austen Book Portal Retrieved from `` https://en.wikipedia.org/w/index.php?title=Elizabeth_Bennet&oldid=837056795 '' Categories : Fictional socialites Female characters in literature Pride and Prejudice characters Fictional characters introduced in 1813 Fictional gentry Hidden categories : All articles lacking reliable references Articles lacking reliable references from September 2010 Use dmy dates from June 2013 Articles to be expanded from August 2010 All articles to be expanded Featured articles needing translation from French Wikipedia Talk Contents About Wikipedia Asturianu Español فارسی Français Italiano Nederlands Português Română Русский Српски / srpski Suomi Türkçe Українська 中文 5 more Edit links This page was last edited on 18 April 2018, at 13 : 21. 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Question: who is elizabeth best friend in pride and prejudice
Answer: Charlotte