Jane Austen
Austen's novels have resulted in sequels, prequels and adaptations of almost every type, from soft-core pornography to fantasy. From the 19th century, her family members published conclusions to her incomplete novels, and by 2000 there were over 100 printed adaptations. The first dramatic adaptation of Austen was published in 1895, Rosina Filippi's "Duologues and Scenes from the Novels of Jane Austen: Arranged and Adapted for Drawing-Room Performance", and Filippi was also responsible for the first professional stage adaptation, "The Bennets" (1901). The first film adaptation was the 1940 MGM production of "Pride and Prejudice" starring Laurence Olivier and Greer Garson. BBC television dramatisations since the 1970s have attempted to adhere meticulously to Austen's plots, characterisations and settings. The British critic Robert Irvine noted that in American film adaptations of Austen's novels, starting with the 1940 version of "Pride and Prejudice" and continuing on to today, class is subtly downplayed as the United States is officially an egalitarian nation where all people are equal and the society of Regency England depicted by Austen that is grounded in a hierarchy based upon the ownership of land and the antiquity of the family name is one that Americans cannot embrace in its entirety.
John Willoughby
Jane Austen created Willoughby as a protagonist driven by the need for his own pleasure, whether that be through amusing himself with whatever woman crossed his path, or via marrying in order to obtain wealth to fuel his profligate ways. He does not value emotional connection and is willing to give up his true love for more worldly objects. This characterization is similar to that of George Wickham in Jane Austen's subsequent novel, "Pride and Prejudice". They both have the charm to ingratiate themselves with people and to deceive them, as John Willoughby did to Marianne when apprising her of his journey to London, and George Wickham to Elizabeth by fabricating a story to demonstrate how much anguish he had experienced in his life. And they both show themselves willing to seduce and ruin women—Beth in Willoughby's case and Lydia Bennet and Georgiana Darcy in Wickham's case. However, it appears that Willoughby is not completely without a conscience because he did express remorse and guilt concerning his actions toward Marianne, and showed himself to be capable of falling in love. In contrast, Wickham was very calculating in his behaviour and never demonstrated any regret regarding his treatment of Georgiana or Lydia, or embarrassment about his lies to Elizabeth.