Sense and Sensibility (The Penguin English Library)

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en Limba Engleză Carte Paperback – 29 Aug 2012

The Penguin English Library Edition of Sense and Sensibility by Jane Austen

"The more I know of the world, the more am I convinced that I shall never see a man whom I can really love. I require so much!"
Jane Austen's novel tells the story of Marianne Dashwood, who 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.
The Penguin English Library - 100 editions of the best fiction in English, from the eighteenth century and the very first novels to the beginning of the First World War.

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ISBN-13: 9780141199672
ISBN-10: 0141199679
Pagini: 416
Dimensiuni: 129 x 198 x 18 mm
Greutate: 0.29 kg
Editura: Penguin Books
Colecția Penguin Classics
Seria The Penguin English Library

Locul publicării: London, United Kingdom

Notă biografică

Jane Austen was born on December 16, 1775, to the Reverend George Austen and his wife, Cassandra Leigh Austen, in the village of Steventon in Hampshire, England. Though her mother was from a family of gentry, Jane's father was not well off, and the large family had to take in school boarders to make ends meet. The second youngest of the Austens' eight children, Jane was very close to her elder, and only, sister, Cassandra, and neither sister ever married. Both girls were educated at home, as many were at that time.From a young age Jane wrote satires and read them aloud to her appreciative family. Though she completed the manuscripts of two full-length novels while living at Steventon, these were not published. Later, these novels were revised into the form under which they were published, as Sense and Sensibility and Pride and Prejudice, respectively.In 1801, George Austen retired from the clergy, and Jane, Cassandra, and their parents took up residence in Bath, a fashionable town Jane liked far less than her native village. Jane seems to have written little during this period. When Mr. Austen died in 1805, the three women, Mrs. Austen and her daughters, moved first to Southampton and then, partly subsidized by Jane's brothers, occupied a house in Chawton, a village not unlike Jane's first home. There she began to work on writing and pursued publishing once more, leading to the anonymous publication of Sense and Sensibility in 1811 and Pride and Prejudice in 1813, to modestly good reviews.Known for her cheerful, modest, and witty character, Jane Austen had a busy family and social life but very little direct romantic experience. Her last years were quiet and devoted to family, friends, and writing her final novels. In 1817 she had to interrupt work on her last and unfinished novel, Sanditon, because she fell ill. She died on July 18, 1817, in Winchester, where she had been taken for medical treatment. After her death, her novels Northanger Abbey and Persuasion were published, together with a biographical notice, due to the efforts of her brother Henry. Austen is buried in Winchester Cathedral. Wanda McCaddon began recording books for the fledgling audiobook industry in the early 1980s and has since narrated well over six hundred titles for major audio publishers, as well as abridging, narrating, and coproducing classic titles for her own company, Big Ben. Audiobook listeners may be familiar with her voice under one of her two "nom de mikes," Donada Peters and Nadia May. The recipient of an Audie Award and more than twenty-five Earphones Awards, AudioFile magazine has named her one of recording's Golden Voices. Wanda also appears regularly on the professional stage in the San Francisco Bay Area.


“[Sense and Sensibility] is a subtler and a more searching novel than [its critics’] blunt instruments of perception have been capable of registering, because it deals not with the categories of romantic philosophy but with the transformation of those categories into ways of feeling and behaving. It explores the unsettling romantic alteration of the internal life.” –from the Introduction by Peter Conrad


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.

Textul de pe ultima copertă

He is not the only young man in the world worth having.
Teenage sisters Marianne and Elinor Dashwood could not be more different. Marianne is passionat Se, impetuous, and recklessly romantic. Elinor is practical, thoughtful, and completely reserved. But Marianne and Elinor discover they have more in common than they thought when they both fall head over heels in love with unattainable men.
Opposites in every way except for their heartbreak, the two girls are determined to make their dreams come true. But in a society ruled by status and money, Elinor and Marianne will have to fight for the happy ending they both deserve. Through a series of romantic misadventures the girls come to realize that the key to their happiness may not lie in fiery passion or strict reason—but somewhere in between.
Jane Austen's sweepingly romantic masterpiece continues to delight generation after generation of readers. Beautifully presented for a modern teen audience, this is the must-have edition of a timeless classic.


General Editor's Preface; Chronology; Introduction; Note on the text; Sense and Sensibility; Emendations; Abbreviations; Explanatory notes.