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Significance of Setting and Social Company in Pride and Prejudice:

The Influence of the Romantic Hero on the Reader‟s Changing Perception

of Mr. Darcy

Jennifer Brownell



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Mr. Darcy‟s perceived reformation of character in Jane Austen‟s Pride and Prejudice

spans the duration of the novel and even prompts the transformation of the heroine Miss

Elizabeth Bennett herself. Introduced as a most despised character as a result of his arrogance

and pride, Darcy is one of the most altered characters in the work due to the complete reversal of

the reader‟s perception of his attitudes and mannerisms by its close. The initial presentation of

Darcy as a pompous and provincial alien to the community of Meryton closely mirrors a key

literary theme of the period – that of the Romantic hero. The hero was painted as isolated and

misunderstood, forcing him or her to overcome a hardship or internal struggle in order to attain

his or her desire. In Darcy‟s case, his desire starts as the wish simply to gain Elizabeth‟s hand in

marriage, but with the rejection of his first proposal his desire becomes the wish to gain

Elizabeth‟s heart. Darcy‟s evolving desire provides the need for the reader‟s perception of his

inner character to evolve as well, and this change of perception in his personality and actions is

reflected in his surroundings. Darcy‟s advances toward Elizabeth throughout the novel are

shaped by his changing external physical surroundings and the company found in those

surroundings. The reasoning behind Austen‟s selection of setting and company as the most

important factors in furthering the perception of Darcy‟s character is based, again, in key

Romantic themes.

Darcy‟s original portrayal as a disliked newcomer and the establishment of his

personality as a self-serving, lonesome individual in the tradition of the Romantic hero is key to

Austen‟s story and a major contribution toward establishing the necessity of a character

reformation if he is to win over Elizabeth, a highly respected and well-loved member of the same

community that views him with hostile eyes. Darcy may fail to fulfill all the typical

characteristics of a Romantic hero, but an explanation for this variation on the classic archetype



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can be found in Austen‟s style of writing and incorporation of literary influences. She “is little

given to direct imitation, let alone illusion,” choosing instead to take already established literary

traditions and adapt them to serve her own purposes (Grundy 191). “She looked for what she

could use – not by quietly absorbing and reflecting it, but by actively engaging, rewriting, often

mocking it” (Grundy 190). Austen‟s practice of manipulating and even mocking archetypes and

key themes of the Romantics shows in her application of the Romantic hero archetype to Darcy.

She paints Darcy as a Romantic hero based on his actions in public situations, but allows the

reader glimpses of Darcy‟s true character when he is placed in more intimate settings and

company. Mr. Darcy is disliked by his peers at the outset of the novel because of his

resemblance to a Romantic hero, and he is not accepted by Elizabeth, or the reader, until she

realizes that this is only a façade and not his true character. In this manner, Austen mocks the

archetype by creating a Romantic hero who is despised until she peels away his layers by

changing Elizabeth‟s perception of Darcy, revealing him to never have been a true Romantic

hero in the first place.

Romantic scholars Lilian R. Furst and Northrop Frye provide two great definitions of a

cookie-cutter Romantic hero. Furst puts forth that “the crux of the Romantic hero‟s tragedy …

[is that] his egotism is such as to pervert all his feelings inwards on to himself until everything

and everyone is evaluated only in relationship to that precious self, the focus of his entire

energy” (Furst 99). This self-important manner and inclination to evaluate all decisions and

actions in terms of repercussion upon oneself is exemplified in Darcy‟s first proposal to

Elizabeth. Instead of complimenting Elizabeth on the qualities which inspired his love for her,

Darcy instead details “His sense of her inferiority-of its being a degradation-of the family

obstacles which judgment had always opposed to inclination, [which] were dwelt on with a



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warmth which seemed due to the consequence he was wounding, but was very unlikely to

recommend his suit” (Austen 350). The proposal becomes all about him and the struggle he has

dealt with regarding his worry that her lower class status may affect others‟ perceptions of him.

However, while Darcy successfully embodies Furst‟s definition of a Romantic hero, he fails to

meet Frye‟s requirement of being “placed outside the structure of civilization and therefore

represent[ing] the force of physical nature, amoral or ruthless, yet with a sense of power, and

often of leadership, that society has impoverished itself by rejecting” (Frye 41). Darcy is far

from being an outcast from society and civilization – this characteristic is more applicable to a

character such as Frankenstein‟s monster in Mary Shelley‟s Frankenstein. Rather, Austen adapts

this concept of being placed outside all society to being thrown into an unfamiliar group of

already acquainted strangers, for Darcy knows only the Bingleys and Hursts in his first

appearance in the novel.

Darcy‟s manner during the night of his introduction at the assembly in Meryton earns him

the distaste and condemnation of the entire room, cementing his status as a misunderstood loner

in only the third chapter of Austen‟s novel. While Mr. Bingley also begins the story as a

newcomer, he is able to quickly and easily ingratiate himself with the surrounding community

thanks to his easy manner and open personality. Bingley technically may be an outsider, but

Austen takes great care to differentiate between these two romantic interests of the eldest Bennett

sisters, using the society‟s quick acceptance of Bingley to highlight the unwelcome and intruding

presence of Darcy. Following the archetypal Romantic hero, it is imperative that Darcy not only

be an unwelcome newcomer, but that his actions and personality be misunderstood by his fellow

characters and that his actions and reasoning be viewed as selfish. Darcy‟s fellow society

members misinterpret his character in a manner causing them to dislike him since he is putting



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on an act and playing the role of the Romantic hero instead of allowing them to discover his true

self. Darcy‟s r eluctance to interact with his strange new acquaintances at the Meryton ball and

his inability to surpass the most basic of social niceties is the primary complaint voiced by the

community; the main charges laid against him during the Bennett women‟s gossip session with

Charlotte Lucas are that “„he sat close to [Mrs. Long] for half an hour without once opening h is

lips‟” and that he slighted Elizabeth by refusing to request a dance with her (Austen 32). While

the women immediately take these affronts to mean that Darcy is rude and conceited, it is only

Miss Jane Bennett who observes that perhaps they simply are misinterpreting Darcy‟s actions.

While her mother and Charlotte are abusing Darcy‟s impolite manners, Jane protests that “„Miss

Bingley told me … that he never speaks much unless among his intimate acquaintance. With

them he is remarkably agreeable‟” (Austen 32). Jane‟s comment suggests, for the first time, that

Darcy may just be shy and reserved around new acquaintances, rather than intentionally acting

rudely. This suggestion, discussed by Jenny Rytting in her article “Jane Austen meets Carl Jung:

Pride, Prejudice, and Personality Theory,” strongly reinforces Darcy‟s inclination to act

differently in uncomfortable and strange public situations, taking on some of the more negative

characteristics of a Romantic hero, than he does when in private or among familiar

acquaintances. Rytting puts forth that, based on Carl Jung‟s theory that “Introverts tend to

communicate best-and with most pleasure-with a small circle of close friends,” Darcy‟s

interactions with others would be influenced by his shy personality. It follows logically that

Darcy‟s ease of interaction will be almost completely absent at the beginning of the story, based

on his unfamiliarity with the new community, but will only increase when placed in a familiar

surrounding with close acquaintances or family. It is important that Darcy be misunderstood in

that he is not as snobbish as everybody thinks at the beginning, because otherwise there would be



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no room for the reader to learn along with Elizabeth and discover Darcy‟s true character as a

much better person, which in turn allows for the romance between Darcy and Elizabeth to

flourish.

Austen‟s use of the Romantic hero archetype is not unusual for her time period. The

isolated and misunderstood outcast is a common theme used in many other Romantic novels,

such as the previously mentioned Frankenstein and Lord Byron‟s Don Juan. This popular theme

of the Romantic literary period arose from the combination of several preoccupations of

Romantic writers – “a turning in upon the self and a heightened examination of human

personality and its moods and mental potentialities; a preoccupation with the genius, the hero,

and the exceptional figure in general, and a focus on his passions and inner struggles”

(“Romanticism”). The focus on inner struggles arose as a prevalent interest as a result of the

French Revolution, influencing British writers first to promote social change and later, after

Napoleon became corrupted and consumed by his power, to promote a reservation of self and

inner meditation on human nature. Austen uses Darcy as a Romantic hero to address both of

these prominent issues, for Darcy is accepting of social change in taking Elizabeth, a woman of

lower birth than himself, as his wife and in his eventual encouragement of his friend Bingley to

take her sister, Jane, as his wife, despite their family‟s circumstances. He also embodies the

meditation on human nature through Austen‟s shrewd revealing of the inner workings of his

character throughout the course of the novel, prompting the reader‟s viewing of Darcy

transforming from a grumpy elitist villain to a helpful and caring love interest.

The establishment of Darcy as a misunderstood newcomer to Meryton society and

Elizabeth‟s inner circle allows for his transformation in the reader‟s eyes from surly and reserved

stranger to familiar and generous suitor, but the conduit for this transformation is found in his



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physical surroundings and surrounding company. At the Meryton assembly his unsociable front

and tartness of conversation among the humbler company of strangers work to suggest “a most

forbidding, disagreeable countenance” which quickly becomes everybody‟s assumed measure of

his character (Austen 16). It is this unfavorable first impression he must work to overcome

during the course of the novel once he realizes it harms his chances of a relationship with

Elizabeth. Austen divides the changing portrayal of Darcy‟s manner in relation to Elizabeth into

three major sections according to his changing location throughout the story – his initial

encounters with Elizabeth during his stay at Netherfield, his reunion with her at his Aunt

Catherine‟s estate at Rosings, and his chance meeting with her at his own estate at Pemberley.

***STOP HERE!**

Darcy‟s first acquaintance with Elizabeth at the Meryton ball already has been discussed

in this paper, but his first real opportunity to interact with her on a more personal level comes

with Elizabeth‟s visit to Netherfield to visit her sick sister, Jane. Although the setting still is

slightly unfamiliar to Darcy, it at least belongs to his close friend Charles Bingley and has been

his place of lodging for the duration of his stay in the country. He also is familiar with each

member of his company, contributing to his slightly more relaxed air and willingness to

participate in the party‟s interactions, one of the first instances where Darcy begins to act in

opposition to the Romantic hero‟s tendency to remain outside society. This also is the first time

Darcy allows his feelings for Elizabeth to manifest themselves further than his voiced admiration

of her “fine eyes” to Miss Caroline Bingley at Sir Lucas‟ party (Austen 82) by refusing to join in

with Caroline Bingley‟s degrading remarks of Elizabeth. However, he is only at the beginning

of his jour ney towards becoming a gracious, empathetic gentleman, for he “also criticizes Mrs.

Bennett, and possibly the younger daughters” for their impropriety even as he is attempting, in



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his own way, to spare Elizabeth. Although Darcy attempts to shield Elizabeth from this ridicule,

he has no thought of extending the same civility to her family in honor of his feelings for her

(Shapard 83). Since his familiarity with his setting is only slightly increased and his company

still is composed of mostly acquaintances and only one true friend, his behavior still is very

much representative of Austen‟s version of the Romantic hero - severely proper and still unable

to overcome his inner struggle between his admiration of Elizabeth and disapproval of her

family.

Whereas Darcy had previously limited his interest in Elizabeth to a personal study of her

character and a reluctance to criticize her, he finally allows himself to act on his possible marital

interest for Elizabeth at the Lady Catherine de Bourgh‟s estate while surrounded by his cousins

and aunt. “Darcy has already been shown behaving in a somewhat friendlier manner among

those he knows well,” so the his extended family‟s presence and the familiarity of the estate

would bolster his confidence in the decision to make such a bold gesture towards Elizabeth

(Shapard 321). Austen scholar Beth Lau observes that “ Pride and Prejudice … depicts a world

in which people are portrayed as members of families and communities rather than as

autonomous individuals, and character s are almost never alone” (222), supporting the notion that

Darcy‟s surrounding company would exert extreme influence over his manners and the social

liberties he feels he can take when pursuing Elizabeth. Surrounded by family, in this instance, he

feels a bit more at ease and lets his guard down so much that even the new Mrs. Collins notices

his special attentions towards Elizabeth during his visits to the parsonage (Austen 332). His

interest begins to show in physical interactions with Elizabeth through small actions such as

when he “drew his chair a little towards her … Elizabeth looked surprised. The gentleman

experienced some change of feeling; he drew back his chair” (Austen 330). His interest in



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Elizabeth is also strengthened by seeing her interact with his family, and he begins to entertain

the possibility of her becoming a part of this family setting, going so far as to hint to her during a

walk in the Park that “whenever she came into Kent again she would be staying there too”

instead of at the parsonage with the Collins‟ (Austen 336). Darcy becomes so emboldened by

the comfort of a familiar setting and the support from surrounding relatives bolstering his social

image that he even proposes to Elizabeth, albeit in a condescending and ungentlemanly manner.

Her refusal and criticism of his manner of proposing forces him to realize that he must retreat

even further into himself and seek more intimate company in order to find the ease of sociability

and chivalry it will require to win Elizabeth‟s heart and respect.

The turning point of the novel after Darcy‟s first proposal arrives with Elizabeth‟s

reception of a letter from Darcy himself, explaining his defenses against the injustices she

charged him with during her refusal of the proposal. The symbolic delivery and reception of the

letter provides great insight into Darcy and Elizabeth‟s characters, for this interaction takes place

through a removed, written medium which allows for them both to consider the other‟s

viewpoint and misunderstandings with no danger of outside influences or interference. It is only

when removed from these societal influences and worries of properly demonstrated etiquette that

they can begin to reach a middle ground of understanding. The contents of Darcy‟s letter place

great emphasis on the importance of his friends and, especially, family in his life. His defense

against Elizabeth‟s charge of wrongly separating Mr. Bingley and Jane is that he was trying to

preserve his close friend from a disadvantageous marriage. His defense against the rift with

Wickham is that he harmed Darcy‟s family by disrespecting the memory of Darcy‟s father and

by attempting to convince Darcy‟s younger sister, Georgiana, to elope when she was only fifteen

years old in order to inherit her fortune (Austen 370, 372). Both of these defenses against



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Elizabeth‟s accusations show the importance of close friends and family in Darcy‟s life. This

also explains his altered behavior and social ease when he is surrounded by those he feels closest

to in his life, for “he is actually uncomfortable among strangers in drawing rooms and more at

ease at home in the country, alone or with a few close friends” or family members whose good

esteem he highly desires and respects (Lau 222).

The importance of family in Darcy‟s life becomes very apparent with the next encounter

between Darcy and Elizabeth at his estate, Pemberley. Elizabeth is traveling and visiting grand

houses of the time with her relatives, the Gardiners, who decide to visit Pemberley in passing.

Elizabeth‟s reaction upon touring the house that “his taste … was neither gaudy nor uselessly

fine; with less of splendor, and more real elegance, than the furniture of Rosings” is significant

because it illustrates how surroundings can impact the perceived notions held of the owners or

current inhabitants (Austen 448). Darcy‟s behavior at Pemberley greatly differs from his

behavior at Rosings Park, which can be attributed to his discomfort with the overly pompous

furnishings and air of his aunt‟s estate. Elizabeth‟s observance that “Never, even in the company

of his dear friends at Netherfield, or his dignified relations at Rosings, had she seen him so

desirous to please, so free from self-consequence, or unbending reserve as now” reveals the

striking difference between Darcy‟s behavior in these radically different settings (Austen 480).

Darcy‟s increased air of gentility and civility, especially towards Elizabeth‟s relations whose

status is much lower than his, can be interpreted as the comfort and ease which comes with being

in his own domain. Indeed, Shapard observes that Darcy “is on his own grounds, where he is

comfortable and where he would be expected to play the host” (Shapard 459). Darcy not only

pays his attentions to Elizabeth so openly during the course of her visit that the Gardiners can

easily discern his “partiality for their niece … [for] the gentleman was overflowing with



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admiration,” but he finally learns to extend the tender courtesy he feels towards Elizabeth to her

relations, no matter what their social status (Austen 474, 476). Darcy‟s eagerness to please

Elizabeth and entertain her relations shows a completely different character from the man who

could do nothing but criticize her family at the Netherfield Ball. The pride of showing off his

estate and his wish to acquaint his sister with Elizabeth reveals a man very proud of and

influenced by his family and his family‟s heritage, which manifests itself through his actions.

Darcy‟s personal journey throughout the novel provides many revealing outlooks of the

man and his personality. His strong affinity for family is reflected in the progressively positive

depictions of Darcy as Austen places him in settings and with company more closely related to

home and his family. This change of temperament elicited by his more intimate surroundings

also influences his ability to further his relationship with Elizabeth. James Sherry‟s comment

that “„society‟ always suggests for Jane Austen the presence of other individuals with whom it is

either a duty or a pleasure to mix” suggests that once Darcy was in a familiar environment with

people he loved and respected it would become a “pleasure to mix” rather than a duty to be

suffered (611). His desire to win over Elizabeth begins as a duty to endure her family‟s

impropriety and overlook her inferior status, but ends as a pleasure to do everything in his power

to make her happy, even welcoming such difficult relations. Darcy‟s inner reform and evolving

relationship with Elizabeth is mirrored by his increasingly familiar environment and company

during the key occurrences of his meetings with Elizabeth.

The characters‟ physical surroundings and social company are very prominent in the plot

of the story, and therefore easy for Austen to utilize in justifying her transformation of Darcy.

As travel still was difficult and usually uncomfortable at the time, people were not very mobile

and the society available for gatherings generally was determined by location. This was



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reflected in the practice of some more genteel families, for “When the diversions of the country

palled, the genteel family moved to their townhouse for the „season,‟ a round of balls, parties,

and theatrical entertainments” (Adams 355). The surroundings and location of the characters, in

that manner, plays an important role in Austen‟s novel, for the influence of surrounding company

is a strong determinant in the opinions and actions of her characters. Since the importance of

location and company is apparent in the novel, Austen parallels their importance in the roles she

assigns to each in Darcy‟s emotional reforms. It is not enough simply for Darcy to change his

ways, there must be a driving force (in this case, Elizabeth) and a channel (in this case, the

setting and society) for the change to take place. The already established key presence of these

two factors, setting and society, in the story is not by chance, for both also were key and unifying

themes of popular works in the Romantic literary period.

Mr. Darcy begins Pride and Prejudice as the most despised man in the novel. His

establishment as an unwelcome stranger whose actions and driving influences are wildly

misunderstood by his fellow characters follows a popular archetype of the Romantic period. His

following reformation of character is heavily influenced by and can be traced through his

changing locations and surrounding company. Austen‟s choice of setting and society as the

instruments for Darcy‟s change is not random, for they also are popular themes among Romantic

writers. Austen‟s use of Darcy as a key component of the plot and her use of society and setting

to transform Darcy into the character needed to resolve the conflict are both heavily influenced

by the Romantic literary period.



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Works Cited

Austen, Jane. Pride and Prejudice. Ed. David M. Shapard. New York: Anchor Books, 2007.

Print.

Frye, Northrop. A Study of English Romanticism. New York: Random House, 1968. 41. Print.

Furst, Lilian R. Romanticism in Perspective: A Comparative Study of Aspects of the Romantic

Movement in England, France, and Germany. London: Macmillan, 1969. 99. Print.

Grundy, Isobel. “Jane Austen and literary traditions.” Cambridge Companion to Jane Austen.

Eds. Edward Copeland and Juliet McMaster. Cambridge: Cambridge University Press,

1997. 189-210. Print.

Lau, Beth. “Jane Austen, Pride and Prejudice.” A Companion to Romanticism. Ed. Duncan Wu.

Malden, MA: Blackwell Publishing, 1999. 219-226. Print.

"Romanticism." Encyclopædia Britannica. 2009. Encyclopædia Britannica Online. Web. 1 Dec.

2009 <http://www.britannica.com/EBchecked/topic/508675/Romanticism>.

Rytting, Jenny. "Jane Austen meets Carl Jung: Pride, Prejudice, and Personality Theory."

Persuasions: The Jane Austen Journal On-Line 22.1 (Winter 2001). MLA International

Bibliography. EBSCO. Pickler Memorial Library, Kirksville, MO. Web. 24 Feb. 2009.

<http://www.jasna.org/persuasions/on-line/vol22no1/rytting.html>.

Shapard, David M. Annotated Footnotes. Pride and Prejudice. By Jane Austen. New York:

Anchor Books, 2007. Print.

Sherry, James. “Pride and Prejudice: The Limits of Society.” Studies in English Literature, 1500-

1900. 19.4 (Fall 1979): 609-622. JSTOR. Pickler Memorial Library, Kirksville, MO.

Web. 17 February 2009. <http://www.jstor.org/stable/450251>.

http://www.britannica.com/EBchecked/topic/508675/Romanticism

http://www.britannica.com/EBchecked/topic/508675/Romanticism



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Works Referenced

Adams, Robert M. The Land and Literature of England . New York: W. W. Norton & Company,

Inc., 1983. Print.

Galperin, William H. The Historical Austen. Philadelphia: University of Pennsylvania Press, 2003.

Print.

Menon, Patricia. Austen, Eliot, Charlotte Brontë and the Mentor-Lover . New York: Palgrave

Macmillan, 2003. Print.

O‟Neill, Michael, ed. Literature of the Romantic Period . Oxford: Clarendon Press, 1993. Print.

Roberts, Warren. Jane Austen and the French Revolution. New York: St. Martin‟s Press, 1979.

Print.

Wilson, James D. “Tirso, Moliere, and Byron: The Emergence of Don Juan as Romantic Hero.”

The South Central Bulletin. 32.4 (Winter 1972): 246-248. JSTOR. Pickler Memorial

Library, Kirksville, MO. Web. 31 November 2009. <http://www.jstor.org/stable/3186981>.



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*use servant‟s reference that he‟s actually a wonderful guy – Austen paints him as a Romantic

hero for the audience but he actually isn‟t – they peel away society‟s viewing of him as a Romantic

hero by the end – goes counter to who you really are – Darcy is playing role of Romantic hero in

public even though that‟s not who he truly is

expand into final paper by covering what is Austen saying about Romanticism then if she

creates this character who is a false Romantic who we don‟t like because he is a Romantic/Byron

and we get somebody different – is she deconstructing Romanticism then?

-Austen is anamoly among Romantic writers – she‟s a commentator on Romanticism, doesn‟t

necessarily employ it. In many ways she comes off more as a Victorian writer – but she is actually

outside of these literary traditions

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