Thomas Langlois Lefroy
In 1796, Lefroy began a flirtation with English novelist Jane Austen, who was a friend of an older female relative. Jane Austen wrote two letters to her sister Cassandra mentioning "Tom Lefroy", and some have suggested that it may have been he whom Austen had in mind when she invented the character of Mr. Darcy in "Pride and Prejudice", as the courtship between Tom Lefroy and Jane Austen took place over the year or so that "Pride and Prejudice" was written. In his 2003 biography, "Becoming Jane Austen", Jon Spence suggests that Jane Austen actually used her and Tom LeFroy's personalities as the models for Mr. Darcy and Elizabeth Bennet, but not in an expected way. Spence suggests that Jane Austen used Tom Lefroy's more gregarious personality as the model for the novel's heroine Elizabeth Bennet, and her own measured demeanor was used as the model for the male protagonist, Mr. Darcy. So while the exact influence of Tom Lefroy on "Pride and Prejudice" continues to be debated, it does seem certain that his presence in Austen's life is in some way reflected in the novel.
Pride &amp; Prejudice (2005 film)
Film, literary, and Austen scholars noted the appearance of romance and romanticism within "Pride & Prejudice", especially in comparison to previous adaptations. 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." 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". 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".