pride guide

8/2/2019 Pride Guide

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STUDY GUIDE

Prepared by Kimberly ColburnProduction Dramaturg & Assistant Literary Manager


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TABLE OF CONTENTS

Part I: THE PLAYThe Characters

Summary and Themes of the StoryJane Austens England

Part II: THE AUTHORS

Biography of Jane AustenA Chronology of Jane Austens Life

The Ascension of AustenBiography of Adaptors

An Interview with Joseph Hanreddy

Part III: THE PRODUCTION

Part IV: QUESTIONS FOR DISCUSSIONBefore the ShowAfter the Show

Part V: RESOURCES

Other AdaptationsOther Online Study GuidesWebsites for Further Study of Pride and PrejudiceGeneral web resources for Jane Austens England


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Part I: THE PLAY

The CharactersMr. BennetMrs. Bennet

(their ve daughters)JaneElizabethMaryCatherine (nicknamed Kitty)Lydia

Mr. DarcyGeorgina Darcy (Mr. Darcys much younger sister)

Mr. Bingley (Caroline Bingleys brother)Miss Caroline Bingley (Mr. Bingleys sister)

Mr. Collins (a distant relative o Mr. Bennets who standsto inherit Longbourn)

Mr. Wickham (a soldier and the son o the late Mr.Darcys servant)

Lady Catherine de BourghMiss Anne de Brough (her invalid daughter)

Sir William Lucas (neighbor to the Bennet amily)Lady LucasCharlotte Lucas (a good riend o Elizabeth Bennet)

Mr. Gardiner (Brother o Mrs. Bennet)Mrs. Gardiner

Mrs. Reynolds (the housekeeper at Mr. Darcys estate,Pemberley)

(soldiers)FitzwilliamMr. DennyCaptain Carter


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Summary and Themes of the StoryExcerpted from Chapter 1, Literary Analysis: Pride and Prejudice o Understanding Pride and Prejudice by DebraTeachman. The Greenwood Press Literature in Context Series, 1997.

It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in

want of a wife. With that line, claimed by some scholars to be the most amous opening line in all o ction,Jane Austen beginsPride and Prejudice. That one line introduces several o the major issues and themes that

have been explored in the novel throughout the past two centuries: marriage, wealth, class, poverty, propriety,and a debate over the existence o universal truth. Moreover, these are not merely issues o historical signicance; they

retain their relevance as we move into the twenty-rst century, still trying to determine how best to deal with issueso love, money (or the lack o it), and proper behavior in a world that resists simple solutions to complicated issues.

Pride and Prejudicehas oten been depicted as a simple story o love between a wealthy, proud aristocrat and

an intelligent, beautiul young woman born into a amily o ve sisters with little nancial security. Elizabeth, thesecond o ve daughters in the Bennet amily, is bright, attractive, witty, and o good moral character. Her ather isa gentleman, a term used in Austens time to denote a man who has sucient income rom property he owns not

to have to work in a proession or trade to support his amily. He has inherited a small estate that supplies enoughmoney to provide or his amily during his lietime; however, since he has no son, the estate will pass, ater his death,

to his cousin, Mr. Collins. As a result, his wie and daughters will not have sucient income to support themselvescomortably ater Mr. Bennet dies. This act leads Mrs. Bennet to ocus all o her attention on getting husbands or herdaughters so that they will be provided or later in lie. The interrelated issues o nancial security and marriage are,

thereore, at the heart o the novel.

Elizabeth meets Mr. Fitzwilliam Darcy at a party in the neighborhood. They begin their acquaintance by insulting


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one another, develop strong eelings or each other, and eventually recognize those eelings as love. Obstacles totheir marrying include dierences in wealth and social position, the behavior o members o their respective amilies,

and their own proud and prejudiced views o themselves and each other, which temporarily prevent them romcommunicating openly and honestly with each other about their eelings, hopes, dreams, and ears. Ultimately, as in

all o Jane Austens novels, the right people marry one another, having learned lessons about themselves and the worldaround them as they endure and overcome the diculties set in their paths by themselves and others.

This summary o the plot is accurate, as ar as it goes, but it does the novel a great disservice to oversimpliy theplot and the issues the novel dealt with in such a way. In act,Pride and Prejudiceexplores the moral and social

conditions o lie in the early nineteenth century in ways that enable us both to understand that earlier time betterand to examine with greater insight our own attitudes and actions within the moral and social conditions o lie in our

own time, enabling us to determine ways in which our decisions about love, marriage, and proper behavior refect ourown truths about what is ultimately right and wrong. Yet, or all o its emphasis on morality, the novel is not preachy.

Through her ironic style, Austen causes us to laugh at and with her characters as we explore our own prideulness andprejudices along with theirs.

Jane Austens England

The English RegencyThe English Regency, in its most literal interpretation, encompasses the years 1811 to 1820. It began when the Prince o

Wales was appointed Regent o England ater his ather, King George III, ell insane. The Industrial Revolution, which

had begun in the mid-18th century, continued to bring innovation to the Western hemisphere during this era, whilethe political world remained entangled in wars and revolutions. In the Regencys broader interpretationwhen used

to describe periods o art, literature, ashion, design, and architecturethe Regency can encompass years as early as1790 and as late as 1830.

Britain was transormed by the Industrial Revolution in the late 18th century. Until then most people lived in thecountryside and made their living rom arming. By the mid 19th century most people in Britain lived in towns and

made their living rom mining or manuacturing industries.

Rules for Society During the English RegencyBelow is a list o standard practices o behavior during this time period and some o the ways the story is impacted asa result. How do they dier rom todays accepted standards o behavior? How are they similar?

General Behavior A man always walks or rides on the outside o the

woman on the street (so that she is protected romthe street).

You should not dget, bite your nails, or scratch. Youshould stand or sit sedately and move in a smooth andgraceul manner.

Be cheerul and smile, but do not laugh loudly. A man never smokes in the presence o ladies. Ater

dinner is served at a dinner party and the women retireto the drawing room the men may remain behind tosmoke.

You should not sit with your legs crossed (unlessgraceully at the ankles)

Never lit your skirts above the ankles.


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Gentleman should bow to a lady beore leaving,rather than simply walking away.

Among men, handshakes are exchanged onlybetween those o equal class.

Gloves must be worn at all times and may onlybe removed at the supper table (or buet).

Greeting/Introductions A man always waits or a woman; she

acknowledges him rst with a bow and then he

may tip his hat, using the hand urthest awayrom her.

It is rude to introduce yoursel; you must waitto be introduced ormally by someone else,especially when the other person is o a higher rank. This is why Elizabeth tries to dissuade Mr. Collins rom

approaching Mr. Darcy. When acknowledging a woman with whom a man is amiliar, with whom he wishes to speak, he may turn and

walk with her as she speaks. It is not mannerly to make a woman stand in the street. When rst meeting a gentleman the lady should acknowledge him with a bow o the head and a curtsey. When

a lady knows a gentleman she may acknowledgehim with a bow o the head.

A lady waits to be introduced to a gentleman

and never introduces hersel. When introduced to a man a lady never oers

her hand, she merely bows/curtsies politely andsays, I am happy to make your acquaintance.

I someone greets you, or visits you, you mustrespond in kind. This is why Elizabeth thinksDarcy is proud and contemptuous when he

barely acknowledges Wickham, and why Jane isoended that Carolines return visit to her at her

aunts house is rudely brie. When entering the dining room, people

generally enter in couples, with the rank o theladies determining the order. This is why atershe returns with Wickham, Lydia declares she will enter beore her sisters, as a married woman outranks an

unmarried one.

Visiting/Travel A lady may never call on a man alone. Visitors should give advance warning o their

arrival (like Mr. Collins letter to Mr. Bennet).This is why it is especially shocking when Lady

Catherine arrives unannounced. In a carriage, a gentleman sits acing backward.

A gentleman should never sit next to a lady

when he is alone with her in a carriage unlesshe is her direct relation.

A lady under thirty years old should not walkalone without another lady, man, or servantunless walking to Church in the early morning.

This makes Elizabeths walk to Nethereld tovisit Jane mildly scandalous.


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Dancing/Balls A lady never dances more than two dances with the

same partner. Two would last approximately hal anhour.

Dancing is one o the ew places respectable womencan talk to a man privately (thats why balls play such

an important role in nding a spouse.)

It is considered rude or a lady to turn down an invitationrom a gentleman to dance.

A man at a ball is expected to dance i there are anyladies not already engaged. This is why it is an aront

that Darcy does not dance with Elizabeth at the rst ball.

Status of Women in the Aristocracy As Darcy and Elizabeth discuss, women are expected

to be accomplished, which includes activities such asreading, riding, singing, playing piano, sewing, dancing

and playing music. Society does not allow ladies o ahigher class to have a proession.

Women have no power o earning money, thereore itis their duty to marry as well as possible (hence Mrs.Bennets obsession).

I a woman does not marry, she is orced to rely on thecharity o her male relatives.

Whatever a married woman inherits becomes theproperty o her husband (which is why Wickham

actively seeks a wealthy and nave heiress). I a woman engages in sexual activity or even the vaguest

hint o it, she is considered ineligible or marriage or

or any lower class (but respectable) position such asgoverness, teacher, or paid companion. This is why it

was so important to get Lydia married to Wickham aterthey had run o together. Formal, academic education is not considered important

or women. Most women are taught at home, and studiesocused on accomplishments and wiely duties rather

than academics.

Conversation Conversation should be appropriate to your gender, age,

and class. Women should not debateor example, scal or

military policybut they may comment on the price o

veal or the welare o their cousins in the army. Shouting, arguing, or whistling are essentially orbidden. When speaking to someone o a higher social standing,

it is critical to remember the correct orms o addressand be polite but not overly amiliar.

It is not polite to discuss money or the advantage o aparticular marriage in public. This is why Elizabeth is soembarrassed when her mother declares the likelihood o

Janes marriage to Bingley.


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PART II: THE PLAYWRIGHT

Biography of Jane Austen

Jane Austen was born December 16, 1775, to Rev. George Aus-ten and the ormer Cassandra Leigh in Steventon, Hampshire.Like the amilies in many o her novels, the Austens were a

large amily o respectable lineage but no ortune. She was one oeight children. Her letters to her only sister Cassandra (the sur-

viving letters date to 1796) are the primary source o biographical

inormation.

Although she never married, her letters to Cassandra and otherwritings reveal several romantic entanglements, including a very

brie engagement (which lasted only one evening). She movedseveral times around the English countryside, but inormationabout her work is somewhat sketchy.

She began to write as a teenager, though kept her work hidden

rom all but her immediate amily. Legend has it that while shewas living with relatives ater her athers death in 1805, she asked

that a squeaky hinge on the rooms swinging door not be oiled.This way, she would have enough time to hide her manuscriptsbeore someone entered the room.

Her brother Henry helped her sell her rst novel,Sense and Sen-

sibility, to a publisher in 1811. Her ather unsuccessully tried toget a publisher to look at her novel First Impressions when she

completed it in 1797. This was the novel that later becamePride and Prejudice, and was published in 1813 to highlyavorable reviews. Mansfeld Park was published in 1814, and thenEmma in 1816. The title page o each book reerredto one or two o Austens earlier novelscapitalizing on her growing reputationbut did not provide her name.

In 1816, she began to suer rom ill health. At the time, it was thought to be consumption but it is now surmised to have

been rom Addisons disease. She travelled to Winchester to receive treatment, and died there on July 18, 1817 at age 41.

Persuasion andNorthanger Abbey were published together posthumously in December 1817 with a Biographical No-tice written by her brother Henry, in which Jane Austen was, or the rst time in one o her novels, identied as theauthor.

A Brief Chronology of Jane Austen

1775: Jane Austen is born in Steventon, England onDecember 16.1782: Jane and her sister Cassandra attend schools in

Oxord, Southampton, and Reading.1786-87: Jane begins to write.1796: The earliest surviving letters written by Jane begin.1796: Jane Austen mockingly writes to her sister about

marrying Tom Leroy, but the firtation goesnowhere because o lack o money on both sides.

1796-97: She completes the rst drat oPride andPrejudice (originally calledFirst Impressions).

Jane Austen

Sample of Janes writing.


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Janes ather oers it to a publisher who declines to

look at the manuscript.1801: Jane moves to Bath with her amily.1802: Jane receives a proposal o marriage rom amily

riend Harry Bigwither, which she initially acceptsbut turns down the ollowing morning.

1805: Janes ather dies, and the amilys income is

considerably reduced. Mrs. Austen, Jane, andCassandra must depend on the support o Janesbrothers.

1811: Sense and Sensibility is published. Only Janesclose amily know she is the author.

1813: Pride and Prejudice is published. A ew peopleoutside o Janes amily learn about her literaryendeavors.

1814: Mansfeld Park is published.1815: Emma is published.1816: Jane alls ill.1817: Jane moves to Winchester, where she dies on July 18.1818: Northanger Abbey andPersuasion are published posthumously by Janes brother Henry. The combined

edition includes a Biographical Notice o the Author written by Henry that identies Jane Austen as theauthor o her novels or the rst time.

The Ascension of Austenby Kimberly Colburn

J

ane Austen didnt intend to be amous. During her lietime, she only published anonymously, as A Lady. Fewpeople outside o her amily knew that she wrote her novels. Despite the large part romance and courting play

in her books, she never married. When she died in 1817 at age 41, her gravestone only cited that she was thedaughter o a local Reverend George Austen. (In an essay about Austen, W. Somerset Maugham commented Itjust shows that you may make a great stir in the world and yet sadly ail to impress the members o your own am-

ily.) It wasnt until 1872 that Winchester Cathedral added the note to her memorial that she was known to many byher writings.

How did Austens work, particularlyPride and Prejudice,

soar to the ubiquitous level o popularity it currently en-joys?

Her our novelsSense and Sensibility, Pride and Prejudice,Mansfeld Park andEmma grew in popularity and made a

modest sum while Jane was still alivearound 600 poundsin six years, which is roughly equivalent to $60,000 today. At

the time, novels were not considered great literature; theywere seen more like pulp fction. Poets were the real celeb-rities. For comparison, Byrons book o poems, The Cor-

sair, sold 10,000 copies on the day it was published in 1814.Emma was also published in 1814, but it took six months to

sell 1,250 copies.

Austens modest reputation naturally ebbed until about 50years ater her death, when her niece J.E. Austen-Leigh pub-lishedA Memoir o Jane Austen in 1870. The memoir was

wildly popular and renewed interest in Austens novels at

Winchester Cathedral whereJane Austen was buried, afterdying near to it in College Streeton the 18th July 1817.


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a time when the genre o the novel had gained new levels o respectability and popularity. The term Janeites was

coined in a preace to an 1894 edition oPride and Prejudice to describe Austen admirers.

In the early twentieth century, reerences to Austen and her novels began cropping up in other texts. Mark Twain ex-

pressed distaste or Austens writing in 1897sFollowing the Equator, insisting that an ideal library would not have herbooks in it. As Mark Twain aimed verbal slings at other classic authors, this may have merely signaled Austens transition

to serious literature. In 1913, Virginia Wool compared Jane Austen to Shakespeare. In 1926, Rudyard Kipling pub-

lished a short story called The Janeites, about a soldier recalling how he was orced to join a secret society o devotedAusten ans. Through the 1930s and 40s, Austens books were increasingly included in classrooms and academia.

O course, it may be the numerous dramatizations o her stories that solidifed Austens superstar status. Starting in1940 withPride and Prejudice starring Laurence Olivier and Greer Garson, popular flm culture began mining Austenor inspiration and churning out three to seven flm versions o Austen novels per decade. Pride and Prejudice ad-

aptations you might remember rom recent years include Colin Firths turn as Mr. Darcy in the 1995 BBC version andthe recent 2005 movie with Keira Knightley as Elizabeth. Or did you catch the Bollywood version in 2004,Bride and

Prejudice?

I you include the category o work based on or inspired by Pride and Prejudice and the list grows exponentially.In flm, theres Youve Got Mail in 1998 with Tom Hanks and Meg Ryan in the same love-hate relationship model asElizabeth and Darcy. InBridget Jones Diary, both the novels and the flms, pays homage toPride and Prejudicethe

initially surly ellow is named Mark Darcy. Author Stephanie Meyer admits the novel Twilightis loosely based onPrideand Prejudicethe dashing Edward Cullen is at frst cold and rude to Bella, later citing their dierences in liestyle as

the reason he tried to keep her at arms length. In 2009, Seth Grahame-Smith wrotePride and Prejudice and Zombies,a mash up oPride and Prejudice incorporating elements o modern zombie fction. He let large portions o Austens

original text intact, but modifed the world o regency England to include ninjas and zombies. There are dozens osequels toPride and Prejudice, imagining the lives o the characters ater the original novel ends.

This chronology merely traces how Austen and her works exploded in popularity in the more than 200 years since herdeath, but not why. Bestselling author and journalist Anna Quindlen wrote: serious literary discussions oPride and

Prejudice threaten to obscure the most important thing about it: it is a pure joy to read.

Biography of Adaptors Hanreddy and SullivanJoseph Hanreddy

Joseph Hanreddy spent nearly two decades as the artistic direc-

tor o the Milwaukee Repertory Theater, where he directed morethan 30 productions and acted in and authored many others. Ap-proximately 50 new American plays, translations and adaptations

were created under his leadership, including many that have sub-sequently been produced in New York, Los Angeles, Chicago and

at the nations leading regional theaters. He is currently workingwith University o Wisconsin-Milwaukees Peck School o the Arts

to develop a ellowship program in directing and design that willstart in all 2011.

J.R. SullivanJ.R. Sullivan is an active regional theatre director and the recentlyappointed Artistic Director o the Pearl Theatre in New York City.

Born in Oak Park, Illinois, Sullivan has used his successul careerto travel and work widely in the U.S., particularly in the Midwest.He is also very active with the Utah Shakespeare Festival.

J.R. Sullivan


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An Interview with Joseph HanreddyExcerpted rom the Pride and Prejudicestudy guide published by

Milwaukee Rep. The ull text can be ound at: http://www.mil-

waukeerep.com/education/documents/PrideandPrejudice.pd

You worked with J.R. Sullivan to adapt Jane Austens 400-page

novel into a play. What is the process like of turning a novelinto a play? Was it hard to pick and choose what you wantedto incorporate?

The frst thing we did was to outline the essential story pointso the novel and discuss how we could streamline the plot and

still do justice to the misunderstandings, story complications andclass obstacles that uel the love/hate relationship o Elizabeth

Bennet and Mr. DarcyWe were committed to be aithul to thespirit o what Jane Austen wrote, while also creating a dramatic

entertainment that would be unny, compelling and moving. Wetried to preserve a considerable amount o Austens language,

while taking the liberty to compress some very eloquent, but

very long sentences with many ideas packaged in a great manyparenthetical thoughts divided by numerous semi-colons, dash-

es and commas.

Many o these paragraph-long sentences were delicious on thepage, but would lose energy and comic bite on the stage. Com-

pressing the story to play length also required that we write a great deal rom scratch. I read several o Jane Austens

other novels beore I started on the project so that her language was in my ear. During the writing process my routinewould be to warm up or an hour or so by just reading something rom one o her books. I also played a variety o

music rom the period while writing to create a proper mood.

Pride and Prejudicehas been adapted many times not only by other theaters, but by Hollywood as well. What will

make [this adaptation] stand out from other adaptations?The other stage adaptations all use narration directly spoken to the audience and the many letters in the book spoken

verbatim in a spotlight. We elt the piece would be much more exciting i we could tell the entire story by creating

scenes between actors. It was a very hard task and limited the amount o scenes that we could just lit directly romthe book. I wanted to approach the project by imagining that Jane Austen had intended the story to be a play rom the

very beginning rather than a novel. I pretended that the novel was just a long notebook o very detailed notes or aplay that she hadnt gotten around to writing. It made me eel more like her partner than someone spoiling a perect

work o art. The flm versions o course are much more about the visuals than the language. The BBC version that stars

Colin Firth and Jennier Ehle is very aithul and very good, but it also has the luxury o being six hours long and wasintended to be seen in six viewings.

The story is set during the Regency Era, which is very different from today. What connections are there between

society then and society now? What can the audience take away that is relevant to them?

Jane Austens brilliance is that her insight into the chemistry that makes connections between men and women endur-

ing or passing and the way that we can be our own worst enemies as we try to attain happiness in love is universal. InPride, a part o the story that I connect to is that frst impressions can create a very strong emotion and sometimes all

we know is that it is strong. We dont really understand i its good strong, or bad strong. Our longing or connectionis so overpowering that we lose objectivity when we allow ourselves to eel deeply. The sense o decorum, rules o eti-

quette and obsession with class distinctions have changed rom Austens time to our own, but part o the joy o readingher books is that over and over you can completely identiy with the characters, the emotions theyre eeling and heruproariously comic view o common human ailings.

Joseph Hanreddy


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PART III: THE PRODUCTION

About Director Kyle Donnelly

The production is led by director Kyle Donnelly. Donnelly has been a proessionaldirector or the past 30 years, working in many o Americans top regional

theatres. She directed SCRs production oTom Walkerby John Strand in 2001.

She has had a long association with Arena Stage in Washington, DC where she wasthe Associate Artistic Director rom 1992 to 1998. She has directed or many other

theatres including the Roundabout Theatre, ONeill Theatre Festival, Old Globe,Seattle Repertory, Williamstown Theatre Festival, Goodman Theatre, SteppenwolTheatre, Huntington Theatre, American Conservatory Theatre, McCarter Theatre,

Berkeley Repertory, Actors Theatre o Louisville, A Contemporary Theatre,Alabama Shakespeare Festival, Studio Theatre, Signature Theatre, Alliance Theatre

and many more.

She ounded her own acting studio called the Actors Center in Chicago, which wasa leading training center or actors in that city rom 1982-1992. She is a membero SDC and winner o the Alan Schneider award rom TCG, AT&T Onstage Award,

the Helen Hayes Award and the Joseph Jeerson Award and holds the Arthur and Molli Wagner Endowed Chair inActing. She is currently the head o the acting program at UC San Diego.

Points of Inspiration

When directors begin to approach a work, their brainstorming can take many orms. Some people write, somepeople have conversations, some people gather images, and most people do a bit o each. When I askeddirector Kyle Donnelly about her approach toPride and Prejudiceshe talked about a desire to illustrate the

connections that this classic tale has or contemporary youngpeople. Would todays teenager all in love with this storyas generations past have? Where and how does the storyconnect to our modern world?In addition to grappling with these thematic questions,Donnelly emphasized the wonderul theatricality o Hanreddy

and Sullivans adaptation. The scenes fow reely and quicklyrom one to the next, keeping the story moving at a brisk

pace while staying aithul to the events o the novel.

Donnelly very graciously shared some o the images (seenext page) that she used as points o inspiration as she

began to discuss the physical realities o the productionwith the various designers working on the show. At thetime this study guide was compiled, the creative team was

very early in their conversations about the specic ways tointegrate these ideas and approaches into the designs that

you will eventually see onstage. Look at these images andthink about how they inspire you. I you were designingsets, costumes, lights, or sound or the show, how wouldthese images help you orm your concepts? Given some oDonnellys questions, how do these images evoke the storyoPride and Prejudice?

Kyle Donnelly


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PART V: RESOURCES

Other AdaptationsPride and Prejudicehas been adapted many times. Below

are many examples o lmed versions, though the list is notexhaustive.1940: MGM lm adaptation; based on a screenplay by Jane

Murn and Aldous Huxley. This adaptation took abroad comic approach and enhanced class dierencesbetween Elizabeth and Darcy. It starred Laurence Olivierand Greer Garson.

1949: NBC produced a one-hour television version on thePhilco Television Playhouse.

1952: The BBC produced a television version in six thirty-minute episodes, adapted by Cedric Wallis. It starredDaphne Slater and Peter Cushing.

1958: The BBC produced another television version (also sixthirty-minute episodes), this one adapted by Cedric

Wallis and Constance Cox.

1967: The BBC produced a new adaptation based on ascreenplay by Nemone Lethbridge. It is the rst o the BBC versions to be shot on location in the Englishcountryside.

1980: Another BBC miniseries, running 226 minutes. Screenplay by Fay Weldon.

1995: Another BBC miniseries, which also ran on A&E in America, running 300 minutes. Screenplay by AndrewDavies. This version starred Colin Firth as Darcy, and is oten cited as the oreront o Austens swell ocurrent popularity.

2005: Directed by Joe Wright, this adaptation starred Keira Knightly and garnered her an Oscar nomination or herperormance.

Other lms inspired byPride and Prejudice

1999: Youve Got Mail: This movie starring Tom Hanks and Meg Ryan ollows the pair through a love/haterelationship similar to Elizabeth and Darcyit also mentionsPride and Prejudiceas a avorite book o MegRyans character.

2003: A Mormon update set in Provo, Utah at Brigham Young University calledPride and Prejudice: A Latter-DayComedy

2004: A Bollywood musical version titledBride and Prejudice.

Many people have been inspired to write about the characters inPride and Prejudiceand what might havehappened ater Elizabeth and Darcy settle into Pemberley. These sequel novels written aboutPride and Prejudicenumber well over 50 titles. Heres a link to some o them, with reviews written by other Austen ans:http://www.pemberley.com/bin/sequels/sequels.cgi?category=pandp


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Additional Study Guides OnlineMilwaukee Reps study guide about Hanreddy and Sullivans stage adaptation:http://www.milwaukeerep.com/education/documents/PrideandPrejudice.pd

The Glencoe McGraw Hill study guide onPride and Prejudice:http://www.glencoe.com/sec/literature/litlibrary/pd/pride_and_predjudice.pd

A study guide on Pride and Prejudicegeared toward undergraduates or the general reader:http://www.teachit.co.uk/armoore/prose/prideandprejudice.htm

A study guide on Pride and Prejudice compiled by the Cummings Guides:http://www.cummingsstudyguides.net/Guides7/PrideandPrej.html

A study guide on Pride and Prejudice rom the Jane Austen Society o Australia:http://www.jasa.net.au/study/P&P.htm

A study guide rom PBS on all six o Austens novels and their lm translations:http://www.pbs.org/wgbh/masterpiece/austen/austen_teachersguide.pd

Websites for Further StudyAnnotated, online version o the text oPride and Prejudice:http://www.pemberley.com/janeino/pridprej.html

About.coms collection o articles aboutPride and Prejudice:http://classiclit.about.com/od/prideprejudice/a/aa_pridepred_st.htm

A website devoted to Austen and her novels, which includes extensive links o Austen related websites:http://www.austen.com/

The Jane Austen Society o North Americas website:http://www.jasna.org/ino/about_austen.html

Website or the Jane Austen Centre in Bath, England. Includes an online Jane Austen magazine with over 500 articlesand a comprehensive list o Jane Austen related links:http://www.janeausten.co.uk/index.ihtml

An article in the OC Registerabout touring Jane Austens England today:http://articles.ocregister.com/2010-02-14/lie/24819594_1_austen-s-books-jane-austen-pemberley

Important places in bothPride and Prejudice(including which places are real and which are imaginary) and Austens lie:

http://www.pemberley.com/janeino/ppjalmap.html

Just for FunA ake video trailer or Jane Austens Fight Club: http://janeaustenghtclub.com/

Jane Austens Guide to Datingby Lauren Henderson. Hyperion, 2005.This book draws on the wisdom in Austens novels to advise those searching or the perect mate today. Includespersonality quizzes to reveal which Austen character you most resemble.

Pride and Prejudiceand Zombies by Seth Grahame-Smith. Quirk Books, 2009.A mash-up oPride and Prejudiceand zombie ction.

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