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Sense and Sensibility de Jane Austen

Sense and Sensibility

Autor Jane Austen Editat de John Milne
Notă:  5.00 · 2 note 
en Limba Engleză Mixed media product – 17 iun 2025
Sense and sensibility: a novel, By Jane Austen (World's Classics)complete in one volume--new edition.Romance, Novel. Sense and Sensibility is a novel by Jane Austen, and was her first published work when it appeared in 1811 under the pseudonym "A Lady". A work of romantic fiction, better known as a comedy of manners, Sense and Sensibility is set in southwest England, London and Kent between 1792 and 1797, and portrays the life and loves of the Dashwood sisters, Elinor and Marianne. The novel follows the young ladies to their new home, a meagre cottage on a distant relative's property, where they experience love, romance and heartbreak.Jane Austen wrote the first draft of the novel in the form of a novel-in-letters (epistolary form) sometime around 1795 when she was about 19 years old, and gave it the title Elinor and Marianne. She later changed the form to a narrative and the title to Sense and Sensibility."Sense" in the book means good judgment or prudence, and "sensibility" means sensitivity or emotionality. "Sense" is identified with the character of Elinor, while "sensibility" is identified with the character of Marianne. By changing the title, Austen added "philosophical depth" to what began as a sketch of two characters.The title of the book, and that of her next published novel, Pride and Prejudice (1813), may be suggestive of political conflicts of the 1790s.plot--When Mr. Henry Dashwood dies, his house, Norland Park, passes directly to his only son John, the child of his first wife. His second wife, Mrs. Dashwood, and their daughters, Elinor, Marianne and Margaret, are left only a small income. On his deathbed, Mr. Dashwood extracts a promise from his son, that he will take care of his half-sisters; however, John's selfish and greedy wife, Fanny, soon persuades him to renege. John and Fanny immediately take up their place as the new owners of Norland, while the Dashwood women are reduced to the position of unwelcome guests. Mrs. Dashwood begins looking for somewhere else to live.In the meantime, Fanny's brother, Edward Ferrars, a pleasant, unassuming, intelligent but reserved young man, visits Norland and soon forms an attachment with Elinor. Fanny disapproves the match and offends Mrs. Dashwood with the implication that Elinor is motivated by money rather than love. Mrs. Dashwood indignantly speeds her search for a new home.Mrs. Dashwood moves her family to Barton Cottage in Devonshire, near the home of her cousin, Sir John Middleton. Their new home lacks many of the conveniences that they have been used to; however, they are warmly received by Sir John, and welcomed into the local society-meeting his wife, Lady Middleton, his mother-in-law, Mrs. Jennings and his friend, the grave, quiet and gentlemanly Colonel Brandon. It soon becomes apparent that Colonel Brandon is attracted to Marianne, and Mrs. Jennings teases them about it. Marianne is not pleased as she considers the thirty-five-year-old Colonel Brandon an old bachelor, incapable of falling in love or inspiring love in anyone else.Marianne, out for a walk, gets caught in the rain, slips and sprains her ankle. The dashing, handsome John Willoughby sees the accident and assists her. Marianne quickly comes to admire his good looks and outspoken views on poetry, music, art and love. Mr. Willoughby's attentions are so overt that Elinor and Mrs. Dashwood begin to suspect that the couple are secretly engaged. Elinor cautions Marianne against her unguarded conduct, but Marianne refuses to check her emotions, believing that it is a falsehood. Unexpectedly one day, Mr. Willoughby informs the Dashwoods that his aunt is sending him to London on business, indefinitely. Marianne is distraught and abandons herself to her sorrow.Edward Ferrars then pays a short visit to Barton Cottage but seems unhappy and out of sorts. Elinor fears that he no longer has feelings for her, but feels compelled, by a sense of duty, to protect her family from knowing her heartache......
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Specificații

ISBN-13: 9783199729587
ISBN-10: 3199729584
Pagini: 136
Dimensiuni: 125 x 195 x 8 mm
Greutate: 0.14 kg
Editura: Hueber Verlag GmbH

Notă biografică

Though the domain of Jane Austen’s novels was as circumscribed as her life, her caustic wit and keen observation made her the equal of the greatest novelists in any language. Born the seventh child of the rector of Steventon, Hampshire, on December 16, 1775, she was educated mainly at home. At an early age she began writing sketches and satires of popular novels for her family’s entertainment. As a clergyman’s daughter from a well-connected family, she had an ample opportunity to study the habits of the middle class, the gentry, and the aristocracy. At twenty-one, she began a novel called “The First Impressions” an early version of Pride and Prejudice. In 1801, on her father’s retirement, the family moved to the fashionable resort of Bath. Two years later she sold the first version of Northanger Abby to a London publisher, but the first of her novels to appear was Sense and Sensibility, published at her own expense in 1811. It was followed by Pride and Prejudice (1813), Mansfield Park (1814), and Emma (1815).

After her father died in 1805, the family first moved to Southampton then to Chawton Cottage in Hampshire. Despite this relative retirement, Jane Austen was still in touch with a wider world, mainly through her brothers; one had become a very rich country gentleman, another a London banker, and two were naval officers. Though her many novels were published anonymously, she had many early and devoted readers, among them the Prince Regent and Sir Walter Scott. In 1816, in declining health, Austen wrote Persuasion and revised Northanger Abby, Her last work, Sandition, was left unfinished at her death on July 18, 1817. She was buried in Winchester Cathedral. Austen’s identity as an author was announced to the world posthumously by her brother Henry, who supervised the publication of Northanger Abby and Persuasion in 1818.

Textul de pe ultima copertă

Sense and Sensibility is one of the best loved of Jane Austen's novels, populated by great comic creations like Mrs. Jennings, the unscrupulous cad Willoughby, and guileless and artful women. As ever, Austen suffuses her work with great ironic observation and tremendous wit, producing a masterpiece of romantic entanglement that time and a very different set of mores cannot diminish.

Descriere

Descriere de la o altă ediție sau format:

Sense and Sensibility is Jane Austen's first published work, meticulously constructed and sparkling with her unique wit. This Penguin Classics edition is edited with an introduction by Ros Ballaster, University of Oxford
Marianne Dashwood wears her heart on her sleeve, and when she falls in love with the dashing but unsuitable John Willoughby she ignores her sister Elinor's warning that her impulsive behaviour leaves her open to gossip and innuendo. Meanwhile Elinor, always sensitive to social convention, is struggling to conceal her own romantic disappointment, even from those closest to her. Through their parallel experience of love - and its threatened loss - the sisters learn that sense must mix with sensibility if they are to find personal happiness in a society where status and money govern the rules of love.
This edition also includes explanatory notes and textual variants between first and second edition.
Jane Austen (1775-1817) was extremely modest about her own genius but has become one of English literature's most famous women writers. Austen began writing at a young age, embarking on what is possibly her best-known work, Pride and Prejudice, at the age of 22. She was the author of Sense and Sensibility, Pride and Prejudice, Emma, Persuasion, Mansfield Park and Northanger Abbey.

Recenzii

Jane Austen’s first published novel, Sense and Sensibility, is a witty satire of the sentimental novel, a popular genre in Britain throughout the 1790s and the Regency. When it first appeared in 1811, the words in its title carried significant cultural weight beyond the confines of the novel, and into both popular and learned discourse. Through her dual heroines, Austen addresses, and satirizes, notions of sense and sensibility, and engages with the issues of inheritance, marriage, and love.
The story concerns two sisters: the level-headed Elinor and the passionate and impulsive Marianne. When their father dies, his son by a previous marriage assumes possession of the family home. Marianne and Elinor, left to the care of their mercenary brother John and his wife Fanny, must remove to a cottage with their mother. Each sister meets a man in whom she is interested, and as with other Austen novels, requited love does not come easily.
This newly annotated edition offers a thorough and perceptive introduction and a wide range of carefully selected contextual materials that further explore the term “sensibility.”

“The complexity and courage of Sense and Sensibility get their due in this wonderful new edition, which features an illuminating and sometimes surprising selection of contextual materials. Kathleen James-Cavan’s introduction provides a readable, trenchant account of the characteristically bold ways in which Austen went public as a woman novelist and negotiated the power of literary precedent.” — Deidre Lynch, University at Buffalo, State University of New York

Cuprins

Acknowledgements
Introduction
Jane Austen: A Brief Chronology
A Note on the Text
Sense and Sensibility
Appendix A: Reviews of Sense and Sensibility
  1. Critical Review, February 1812
  2. British Critic, May 1812
Appendix B: Sensibility
  1. “Effects of Mistaken Synonymy.” The Lady’s Monthly Museum, 1799
  2. Henry Mackenzie, The Lounger, June 1785
  3. Henry Mackenzie, The Lounger, July 1786
  4. “Letter from Barbara Heartless.” The Lounger, October1786
  5. Vicesimus Knox, Winter Evenings, 1795
Appendix C: The Picturesque
  1. William Gilpin, Essays on Picturesque Beauty, 1794
Appendix D: Map of London
Appendix E: Modes of Travel
  1. Curricle
  2. Plain Post-Chaise
  3. Town Chariot
Appendix F: Marianne Dashwood’s Reading
  1. Walter Scott, The Lay of the Last Minstrel
  2. James Thomson, “Autumn”
  3. William Cowper, The Task
Select Bibliography

Extras

Sense and Sensibility, the first of those metaphorical bits of "ivory" on which Jane Austen said she worked with "so fine a brush," jackhammers away at the idea that to conjecture is a vain and hopeless reflex of the mind. But I'll venture this much: If she'd done nothing else, we'd still be in awe of her. Wuthering Heights alone put Emily Brontë in the pantheon, and her sister Charlotte and their older contemporary Mary Shelley might as well have saved themselves the trouble of writing anything but Jane Eyre and Frankenstein. Sense and Sensibility, published in 1811, is at least as mighty a work as any of these, and smarter than all three put together. And it would surely impress us even more without Pride and Prejudice (1813), Mansfield Park (1814), and Emma (1815) towering just up ahead. Austen wrote its ur-version, Elinor and Marianne, when she was nineteen, a year before First Impressions, which became Pride and Prejudice; she reconceived it as Sense and Sensibility when she was twenty-two, and she was thirty-six when it finally appeared. Like most first novels, it lays out what will be its author's lasting preoccupations: the "three or four families in a country village" (which Austen told her niece, in an often-quoted letter, was "the very thing to work on"). The interlocking anxieties over marriages, estates, and ecclesiastical "livings." The secrets, deceptions, and self-deceptions that take several hundred pages to straighten out-to the extent that they get straightened out. The radical skepticism about human knowledge, human communication, and human possibility that informs almost every scene right up to the sort-of-happy ending. And the distinctive characters-the negligent or overindulgent parents, the bifurcating siblings (smart sister, beautiful sister; serious brother, coxcomb brother), the charming, corrupted young libertines. Unlike most first novels, though, Sense and Sensibility doesn't need our indulgence. It's good to go.

In the novels to come, Elinor Dashwood will morph into Anne Elliott and Elizabeth Bennet (who will morph into Emma Woodhouse); Edward Ferrars into Edmund Bertram, Mr. Knightley, Henry Tilney, and Captain Wentworth; Willoughby into George Wickham and Henry Crawford. But the characters in Sense and Sensibility stand convincingly on their own, every bit as memorable as their later avatars. If Austen doesn't have quite the Caliban-to-Ariel range of a Shakespeare, she can still conjure up and sympathize with both Mrs. Jennings-the "rather vulgar" busybody with a borderline-unwholesome interest in young people's love lives, fits of refreshing horse sense, and a ruggedly good heart-and Marianne Dashwood, a wittily observed case study in Romanticism, a compassionately observed case study in sublimated adolescent sexuality, and a humorously observed case study in humorlessness. "I should hardly call her a lively girl," Elinor observes to Edward, "-she is very earnest, very eager in all she does-sometimes talks a great deal and always with animation-but she is not often really merry." Humorlessness, in fact, may be the one thing Marianne and her eventual lifemate, Colonel Brandon, have in common. (Sorry to give that plot point away; it won't be the last one, either. So, fair warning.) The minor characters have the sort of eidetic specificity you associate with Dickens: from the gruesomely mismatched Mr. and Mrs. Palmer to Robert Ferrars, splendidly impenetrable in his microcephalic self-complacency. The major characters, on the other hand, refuse to stay narrowly "in character"; they're always recognizably themselves, yet they seem as many-sided and changeable as people out in the nonfictional world.

Elinor makes as ambivalent a heroine as Mansfield Park's notoriously hard-to-warm-up-to Fanny Price. She's affectionately protective of her sister Marianne yet overfond of zinging her: "It is not every one who has your passion for dead leaves." She's bemused at Marianne's self-dramatizing, yet she's as smug about suffering in silence as Marianne (who "would have thought herself very inexcusable" if she were able to sleep after Willoughby leaves Devonshire) is proud of suffering in Surround Sound. She can be treacherously clever, as when Lucy Steele speculates (correctly) that she may have offended Elinor by staking her claim to Edward: " 'Offended me! How could you suppose so? Believe me,' and Elinor spoke it with the truest sincerity, 'nothing could be farther from my intention, than to give you such an idea.' " Yet she can also be ponderously preachy: "One observation may, I think, be fairly drawn from the whole of the story-that all Willoughby's difficulties, have arisen from the first offense against virtue, in his behaviour to Eliza Williams. That crime has been the origin of every lesser one, and of all his present discontents." (In the rest of Austen, only the intentionally preposterous Mary in Pride and Prejudice strikes just this note: "Unhappy as the event may be for Lydia, we may draw from it this useful lesson; that loss of virtue in a female is irretrievable . . ."). Is Elinor simply an intelligent young woman overtaxed by having to be the grown-up of the family? Or is she an unconsciously rivalrous sibling, sick of hearing that her younger, more beautiful sister will marry more advantageously? Or both? Or what? It's not that Austen doesn't have a clear conception of her-it's that she doesn't have a simple conception. Elinor is the character you know the most about, since Austen tells most of the story from her point of view, and consequently she's the one you're least able to nail with a couple of adjectives or a single defining moment.

Edward bothers us, too. He's a dreamboat only for a woman of Elinor's limited expectations: independent-minded yet passive and depressive, forthright and honorable yet engaged in a book-long cover-up. (It's a tour de force on Austen's part to present a character so burdened with a secret that we see his natural behavior only long after we've gotten used to him.) At his strongest and most appealing-to Elinor, at least-he's a clear-your-mind-of-cant kind of guy: "I am not fond of nettles, or thistles, or heath blossoms. . . . A troop of tidy, happy villagers please me better than the finest banditti in the world." But he can also be a Hamlet-like whiner, complaining about his own idleness and vowing that his sons will be brought up "to be as unlike myself as possible. In feeling, in action, in condition, in every thing." For my money, Edward is the least likable of Austen's heroes, while his opposite number, Willoughby, is the most sympathetic of her libertines: smarter than Pride and Prejudice's Wickham (a loser who gets stuck with the "noisy" and virtually portionless Lydia Bennet) and more warmhearted than Mansfield Park's textbook narcissist Henry Crawford. Willoughby may strike trendy Wordsworthian poses with his effusions on cottages ("I consider it as the only form of building in which happiness is attainable"), but at least he has enough sense to abhor his own callowness, and enough sexy boldness to discompose even the rational Elinor. "She felt that his influence over her mind was heightened by circumstances which ought not in reason to have weight; by that person of uncommon attraction, that open, affectionate, and lively manner which it was no merit to possess . . ." His opening line when he at last explains to her what he's been up to ("Tell me honestly, do you think me most a knave or a fool?") is one of those Byronic flourishes that make him the person in Sense and Sensibility you'd most want to dine with and least want to trust.


From the Trade Paperback edition.