For most of the series, her hair is up:
But there are select scenes where her hair is down:
Almost always, these are scenes where she's confiding to Jane:
- Her determination to marry for love instead of money (Part I)
- What Wickham told her about Darcy (Part II)
- Darcy's proposal and his account of Wickham, where she even admits the distress she felt upon reading Darcy's letter since "I had no Jane to comfort me" (Part IV)
- The effects that Lydia's running away with Wickham will have on the rest of the Bennet sisters (Part V)
- Being engaged to Darcy and that she really does love him (Part VI)
The only exceptions are a brief scene in Part I where she says goodnight to Mrs. Bennet, Lydia, and Kitty and two instances where she's sitting by herself and looking at her reflection (in Parts I and VI). Otherwise, her hair is down only when she's talking with Jane, and this looser mien shows that she's less guarded during these moments than she is in other social contexts.
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Last time I watched the series, I also noticed that Mrs. Hurst and Elizabeth both play movements (or at least sections of movements) from Mozart's Piano Sonata No. 11 in A major, K. 331. Mrs. Hurst plays the third movement ("Alla Turca") at Netherfield in Part II, and Elizabeth plays the opening of the first movement (Andante grazioso) at Rosings Park in Part III. Because the two selections are from the same work, the series seems to be drawing a comparison between Mrs. Hurst and Elizabeth. At the very least, the difference in character between the two selections matches the relative economic disparity between the two women. The ostentation of the Turkish march acts almost as a display of Mrs. Hurst's affluence while the gentle balance in the andante demonstrates Elizabeth's more modest circumstances.
