《 ào màn yǔ piān jiàn》 shì jiǎn · ào sī dīng de dài biǎo zuò， shì yī bù jīng diǎn de xiǎo shuō。 zhè bù zuò pǐn yǐ rì cháng shēng huó wéi sù cái， yī fǎn dāng shí shè huì shàng liú xíng de gǎn shāng xiǎo shuō de nèi róng hé jiáo róu zào zuò de xiě zuò fāng fǎ， shēng dòng dì fǎn yìng liǎo 18 shì jì mò dào 19 shì jì chū chǔyú bǎo shǒu hé bìsè zhuàng tài xià de yīng guó xiāng zhèn shēng huó hé shì tài rén qíng。 zhè bù shè huì fēng qíng huà shì de xiǎo shuō bù jǐn zài dāng shí xī yǐn zhe guǎng dà de dú zhě， shí zhì jīn rì， réng gěi dú zhě yǐ dú tè de yì shù xiǎng shòu。《 ào màn yǔ piān jiàn》 yǐ hūn yīn jià qǔ hé jiā tíng fēng bō wéi tí cái， miáo xiě zì jǐ shú rěn de xiāng jiān suǒ wèi tǐ miàn rén jiā de shēng huó yǔ jiāo wǎng， xiàng zài “ èr cùn xiàng yá ” shàng“ xì xì dì miáo huà”， kàn sì píng fán 'ér suǒ suì， xiǎo tiān dì què kě yìng chū dà shì jiè， yīn cǐ shǐ zhōng néng yǐn qǐ cháng shèng bù shuāi、 yǎ sú gòng shǎng de xīng qù， yīng guó shī rén hé lì shǐ xiǎo shuō jiā sī gè tè céng shuō，“ zài miáo xiě rén men rì cháng shēng huó zhōng gè zhǒng cuò zōng fù zá de suǒ shì， nèi xīn qíng gǎn hé rén wù xìng gé fāng miàn， zhè wèi gū niàn hěn yòu cái néng。 zhè zhǒng cái néng shì wǒ suǒ yù dào de zuì lìng rén shǎng xīn yuè mùdì。” zhèng shì jiǎn . ào sī dīng lú huǒ chún qīng de yǔ yán miáo xiě gōng lì， shǐ bǐ xià de rén wù xǔ xǔ rú shēng， nài rén xún wèi。
ào màn yǔ piān jiàn [ xiǎo shuō ]- zuò zhě jiǎn jiè
jiǎn · ào sī tīng jiǎn · ào sī tīng
jiǎn · ào sī tīng chū shēng yú 1775 nián 12 yuè 16 rì， shì qiáo zhì · ào sī tīng jiā de dì qī gè hái zǐ。 jiǎn · ào sī tīng yī zhí guò zhe 'ān jìng píng hé de yǐn jū shēng huó， tā yī shēng wèi hūn。 yīng guó wén xué shǐ shàng chū xiàn guò jǐ cì qù wèi gé mìng， wén xué kǒu wèi de fān xīn jīhū yǐng xiǎng liǎo suǒ yòu zuò jiā de shēng yù， wéi dú suō shì bǐ yà hé 'ào sī tīng jīng jiǔ bù shuāi。 ér zhè wèi wěi dà de nǚ xìng yī shēng zhǐ zǒu guò liǎo 42 gè chūn xià qiū dōng。 1817 nián 7 yuè 8 rì， tā sǐ yú wēn chè sī tè， zàng yú dāng dì dà jiào táng。
tā de fù qīn shì sī dì wén dùn de jiào qū cháng， yě shì yī wèi cáng shū pō fēng de bó xué zhī tǔ。 tā de mǔ qīn míng jiào kǎ sāng dé lā · lǐ · ào sī tīng， chū shēn yú guì zú jiā tíng。 jiǎn zhǐ yòu yī gè jiě jiě， jiào kǎ sāng dé lā， bìng yī shēng dū yǔ tā bǎo chí zhe mìqiè de lián xì。 jiǎn de tóng bāo xiōng dì cóng shì zhe bù tóng de zhí yè： yòu jǐ gè dān rèn shèng zhí， yī gè shì yínháng jiā， qí tā de zé zài jūn duì fú yì。 jìn guǎn tā de jiā tíng bù shì míng mén wàng zú， yě méi yòu fù jiá yī fāng， dàn qiáo zhì · ào sī tīng hěn zhòng shì jiào yù， shèn zhì duì nǚ 'ér yě bù lì wài。 jiǎn hé kǎ sāng dé lā shàng liǎo jǐ nián xué， zhī hòu jiù zài jiā lǐ xué xí， zhù yào shì guǎng fàn yuè dú gè zhǒng shū jí hé zī liào， bìng cóng fù xiōng men yǔ fǔ dǎo de xué shēng zhī jiān yòu qù de tǎo lùn zhōng huò yì。 tōng guò zì jǐ de nǔ lì， jiǎn shú zhī 18 shì jì de yīng guó wén xué。
jiǎn · ào sī tīng shēng qián nì míng chū bǎn liǎo sì bù xiǎo shuō：《 lǐ zhì yǔ qíng gǎn》 (1811)、《 ào màn yǔ piān jiàn }》 (1813)、《 màn sī fěi 'ěr dé zhuāng yuán》 (1814) hé《 ài mǎ》 (1815)。 lìng wài liǎng bù，《 nuò sāng gé xiū dào yuàn》 hé《 quàn dǎo》 shì tā qù shì hòu yú 1817 nián chū bǎn de。 tā de zhè xiē xiǎo shuō yǐ qí duì yīng guó shè huì hé fēng sú de fěng cì xìng miáo shù 'ér wén míng yú shì。
ào sī tīng suǒ chù de yīng guó shè huì shì yī gè jiē jí děng jí fēn míng de shè huì。 ér jiē jí de qū fēn zhù yào yuán yú jiā zú yǔ cái fù。 ào sī tīng zài tā de zuò pǐn zhōng jīng cháng pī píng yīng guó shàng céng jiē jí de zì fù hé piān jiàn。 jiǎn zhù yì qū fēn rén de nèi zài jià zhí ( gè rén pǐn dé ) hé wài zài jià zhí ( dì wèi hé cái chǎn )。 jiǎn suī rán jīng cháng fěng cì shì lì xiǎo rén， dàn yě cháo xiào chū shēn dī wēi de rén quē fá jiào yǎng hé jǔ zhǐ bù dāng。 zǒng de lái shuō， ào sī tīng shì yī gè xiàn shí zhù yì zuò jiā， tā suǒ miáo huì de yīng guó shì yī gè quē shǎo biàn huà dàn jiē jí yì shí qiáng liè de shè huì。
cóng 18 shì jì mò dào 19 shì jì chū，“ gǎn shāng xiǎo shuō” hé“ gē tè xiǎo shuō” chōng chì yīng guó wén tán， ér 'ào sī tīng de xiǎo shuō pò jiù lì xīn， yī fǎn cháng guī dì zhǎn xiàn liǎo dāng shí shàng wèi shòu dào zī běn zhù yì gōng yè gé mìng chōng jī de yīng guó xiāng cūn zhōng chǎn jiē jí de rì cháng shēng huó hé tián yuán fēng guāng。 tā de zuò pǐn wǎng wǎng tōng guò xǐ jù xìng de chǎng miàn cháo fěng rén men de yú chǔn、 zì sī、 shì lì hé máng mù zì xìn děng kě bǐ kě xiào de ruò diǎn。 ào sī dīng de xiǎo shuō chū xiàn zài 19 shì jì chū yè， yī sǎo fēng xíng yī shí de jiǎ làng màn zhù yì cháo liú， jì chéng hé fā zhǎn liǎo yīng guó 18 shì jì yōu xiù de xiàn shí zhù yì chuán tǒng， wéi 19 shì jì xiàn shí zhù yì xiǎo shuō de gāo cháo zuò liǎo zhǔn bèi。 suī rán qí zuò pǐn fǎn yìng de guǎng dù hé shēn dù yòu xiàn， dàn tā de zuò pǐn rú“ liǎng cùn yá diāo”， cóng yī gè xiǎo chuāng kǒu zhōng kuī shì dào zhěng gè shè huì xíng tài hé rén qíng shì gù， duì gǎi biàn dāng shí xiǎo shuō chuàng zuò zhōng de fēng qì qǐ liǎo hǎo de zuò yòng， zài yīng guó xiǎo shuō de fā zhǎn shǐ shàng yòu chéng shàng qǐ xià de yì yì， bèi yù wéi dì wèi“ kě yǔ suō shì bǐ yà píng qǐ píng zuò” de zuò jiā。 tā zuì xǐ 'ài de zuò jiā shì 18 shì jì gǔ diǎn zhù yì hé lǐ zhì de diǎn fàn sài miù 'ěr · yuē hàn xùn。 ào sī tīng de xiǎo shuō biǎo xiàn chū yī zhǒng qíng gǎn shàng de mó lēng liǎng kě， yǐ jí duì cōng míng cái zhì yǔ zì rán měi de zàn shǎng， zhè xiē tè diǎn shǐ qí zuò pǐn hé làng màn zhù yì zǒu dào yī qǐ。 yí hàn de shì， jiǎn · ào sī tīng de xiǎo shuō zài tā shēng qián bìng wèi shòu dào hǎo píng。 dàn shì hòu lái， yóu qí shì zài 20 shì jì， tā de xiǎo shuō yuè lái yuè shòu huān yíng。 rú jīn， jiǎn · ào sī tīng yǐ jīng jī shēn yú yīng guó zhēn zhèng wěi dà de zuò jiā zhī liè。 jiǎn · ào sī tīng shì shì jiè shàng wéi shù jí shǎo de zhù míng nǚ xìng zuò jiā zhī yī， jiè yú xīn gǔ diǎn zhù yì hé làng màn yùn dòng de shū qíng zhù yì zhī jiān de“ xiǎo fú huà jiā” hé“ jiā tíng xiǎo shuō” jiā， wén xué píng lùn jiā yǎn lǐ kān yǔ suō shì bǐ yà zài bù xiǔ xìng fāng miànxiàng tí bìng lùn de yīng guó zuò jiā。
ào màn yǔ piān jiàn [ xiǎo shuō ]- chuàng zuò bèi jǐng
《 ào màn yǔ piān jiàn》 shì jiǎn · ào sī tīng zuì zǎo wán chéng de zuò pǐn， tā zài 1796 nián kāi shǐ dòng bǐ， qǔ míng wéi《 zuì chū de yìn xiàng》， 1797 nián 8 yuè wán chéng。 tā fù qīn kàn hòu hěn gǎn dòng， tè yì ná gěi tānɡ mǎ · kǎ shì dé 'ěr， qǐng tā chū bǎn， dàn duì fāng yī kǒu huí jué， shǐ dé tā men shí fēn shī wàng。 hòu lái， tā zhòng xiě liǎo《 zuì chū de yìn xiàng》， bìng gǎi míng wéi“ ào màn yǔ piān jiàn” yú 1813 nián 1 yuè chū bǎn。
ào màn yǔ piān jiàn [ xiǎo shuō ]- nèi róng jiǎn jiè
nǚ zhùjué：： yī lì suō bái
nán zhùjué： dá xī
zhòng yào pèijué： jiǎn（ yī lì suō bái de jiě jiě）、 bīn lì（ dá xī de hǎo péng yǒu）
nèi róng tí yào
《 ào màn yǔ piān jiàn》 shì miáo xiě yī lì suō bái bèi nèi tè hé wēi lián dá xī zhè duì qīng nián nán nǚ zhī jiān de 'ài qíng gù shì， qǐ chū tā men liǎ rén zǒng shì huà bù tóu jī。 gù shì fā shēng zài 18 shì jì hòu qī， jù lí yīng guó lún dūn， xiào wài yuē 50 yīng lǐ de hè tè fú dé jùn（ wèi yú yīng guó yīng gé lán dōng nán bù）， shū zhōng shēng dòng dì miáo huì liǎo dāng shí fù nǚ shēng huó de jiān nán， tā men jīhū dōubù néng bǎ wò zì jǐ de mìng yùn。 yóu yú 18 shì jì de yīng guó shè huì shí fēn kàn zhòng shè huì dì wèi hé gè rén jǔ zhǐ fēng dù yǔ cái yì， nǚ rén mendōu jié jìn suǒ néng qù xún mì fù yòu de zhàng fū。
xiáng xì nèi róng
xiǎo xiāng shēn bān nà tè yòu wǔ gè dài zì guī zhōng de qiān jīn， bān nà tè tài tài zhěng tiān cāo xīn zhe wéi nǚ 'ér wù sè chènxīn rú yì de zhàng fū。 xīn lái de lín jū bīn gé lāi (Charles) shì gè yòu qián de dān shēn hàn， tā lì jí chéng liǎo bān nà tè tài tài zhuī liè de mù biāo。 zài yī cì wǔ huì shàng， bīn gé lāi duì bān nà tè jiā de dà nǚ 'ér jiǎn (Jane) yī jiàn zhōng qíng， bān nà tè tài tài wèicǐ xīn xǐ ruò kuáng。 cān jiā wǔ huì de hái yòu bīn gé lāi de hǎo yǒu dá xī (Darcy)。 tā yí biǎo táng táng， fēi cháng fù yòu， xǔ duō gū niàn fēn fēn xiàng tā tóu qù xiàn mù de mù guāng； dàn tā fēi cháng jiāo 'ào， rèn wéi tā mendōu bù pèi zuò tā de wǔ bàn， qí zhōng bāo kuò jiǎn de mèi mèi yī lì suō bái (Elizabeth)。 yī lì suō bái zì zūn xīn hěn qiáng， jué dìng bù qù lǐ cǎi zhè gè 'ào màn de jiā huǒ。 kě shì bù jiǔ， dá xī duì tā huó pō kě 'ài de jǔ zhǐ chǎn shēng liǎo hǎo gǎn， zài lìng yī cì wǔ huì shàng zhù dòng qǐng tā tóng wǔ， què zāo dào yī lì suō bái de jù jué， dá xī láng bèi bù kān。
bīn gé lāi de mèi mèi kǎ luó lín (Caroline) yī xīn zhuī qiú dá xī， tā fā xiàn dá xī yòu yì yú yī lì suō bái， dù huǒ zhōng shāo， jué yì cóng zhōng zǔ náo。 ér zāo dào yī lì suō bái lěng yù de dá xī yě bǐ shì bān nà tè tài tài jí qí xiǎo nǚ 'ér lì dí yà (Lydia) de cū sú。 zài mèi mèi hé hǎo yǒu dá xī de quàn shuō xià， bīn gé lāi bù cí 'ér bié， qù liǎo lún dūn， dàn jiǎn duì tā hái shì yī piàn shēn qíng。
bān nà tè méi yòu 'ér zǐ， tā de jiā chǎn jiāng yóu yuǎn qīn kē lín sī (Collins) jì chéng。 kē lín sī cū bǐ wú zhī， què shàn yú qū yán fù shì， jū rán dāng shàng mù shī。 tā xiàng yī lì suō bái qiú hūn， zāo jù jué hòu， mǎ shàng yǔ tā de nǚ yǒu xià luò tè (Charlotte) jié hūn。
fù jìn xiǎo zhèn de mín tuán lián duì lǐ yòu gè yīng jùn xiāo sǎ de qīng nián jūn guān wēi kěn (Wickham)， rén réndōu kuā tā， yī lì suō bái yě duì tā chǎn shēng liǎo hǎo gǎn。 yī tiān， tā duì yī lì suō bái shuō， tā fù qīn shì dá xī jiā de zǒng guǎn， dá xī de fù qīn céng gěi tā yī dà bǐ yí zèng， què bèi dá xī tūn méi liǎo。 yī lì suō bái tīng hòu， duì dá xī gèng jiā fǎn gǎn。
kē lín sī fū fù qǐng yī lì suō bái qù tā men jiā zuò kè， yī lì suō bái zài nà lǐ yù dào dá xī de yí mā kǎi sè lín (Catherine)， bù jiǔ， yòu jiàn dào liǎo dá xī。 tóng shí yě rèn shí liǎo wēi lián shàoxiào， cóng tā kǒu zhōng dé zhī dá xī cáng qǐ tā jiě jiě de xìn， shǐ yī lì suō bái duì dá xī de tǎo yàn dá dào dǐng fēng。 suǒ yǐ zài dá xī wú fǎ yì zhì zì jǐ duì yī lì suō bái de 'ài mù zhī qíng， xiàng tā qiú hūn de shí hòu， dàn tài dù hái shì nà me 'ào màn。 yī lì suō bái jiān jué dì xiè jué liǎo。 zhè yī dǎ jī shǐ dá xī dì yī cì rèn shí dào jiāo 'ào zì fù suǒ dài lái de 'è guǒ， tā tòng kǔ dì lí kāi liǎo tā， lín zǒu qián liú xià yī fēng cháng xìn zuò liǎo jǐ diǎn jiě shì： tā chéng rèn bīn gé lāi bù cí 'ér bié shì tā cù shǐ de， yuán yīn shì tā bù mǎn bān nà tè tài tài de qīng fú hé bǐ sú， bìng qiě rèn wéi jiǎn bìng méi yòu zhōng qíng yú bīn gé lāi； wēi kěn shuō de què quán shì huǎng yán， shì shí shì wēi kěn zì jǐ bǎ nà bǐ yí chǎn huī huò dài jìn， hái qǐ tú gòu yǐn dá xī de mèi mèi sī bēn。 yī lì suō bái dú xìn hòu shí fēn hòu huǐ， jì duì cuò guài dá xī gǎn dào nèi jiù， yòu wéi mǔ qīn de xíng wéi xiū kuì， hái duì zì jǐ de piān jiàn shēn shēn 'ào huǐ。 tā zhú jiàn gǎi biàn liǎo duì dá xī de kàn fǎ。
dì 'èr nián xià tiān， yī lì suō bái suí jiù fù mǔ lái dào dá xī de zhuāng yuán， yǔ tā zài cì xiāng yù。 tā fā xiàn dá xī biàn liǎo， bù jǐn duì rén bīn bīn yòu lǐ， zài dāng dì hěn shòu rén men zūn jìng， ér qiě duì tā mèi mèi fēi cháng 'ài hù。 tā duì tā de piān jiàn xiāo chú liǎo。 zhèng dāng qí shí， yī lì suō bái jiē dào jiā xìn， shuō xiǎo mèi lì dí yà suí shēn fù lěi lěi dǔ zhài de wēi kěn sī bēn liǎo。 zhè zhǒng jiā chǒu shǐ yī lì suō bái fēi cháng nán kān， yǐ wéi dá xī huì gèng qiáo bù qǐ zì jǐ。 dàn shì shí chū hū tā de yì liào， dá xī dé zhī shàng shù xiāo xī yǐ hòu， zài jiù fù mǔ de bāng zhù xià， bù jǐn tì wēi kěn hái qīng dǔ zhài， hái gěi liǎo tā yī bǐ jù kuǎn， ràng tā yǔ lì dí yà wán hūn。 zì cǐ yǐ hòu， yī lì suō bái wǎng rì duì dá xī de zhǒng zhǒng piān jiàn tǒng tǒng huà wéi zhēn chéng zhī 'ài。
bīn gé lāi hé jiǎn jīng guò yī fān zhōu zhé， yán guī yú hǎo， yī duì qíng rén chén jìn zài huān lè zhī zhōng。 ér yī xīn xiǎng ràng zì jǐ de nǚ 'ér 'ān nī (Anne) jià gěi dá xī de kǎi sè lín fū rén cōng cōng gǎn lái， mánhèng dì yào yī lì suō bái bǎo zhèng bù yǔ dá xī jié hūn。 yī lì suō bái duì zhè yī wú lǐ yào qiú duàn rán jù jué。 cǐ shì chuán dào dá xī 'ěr zhōng。 tā zhī dào yī lì suō bái yǐ jīng gǎi biàn liǎo duì zì jǐ de kàn fǎ， chéng kěn dì zài cì xiàng tā qiú hūn。 dào cǐ， yī duì céng yīn 'ào màn hé piān jiàn 'ér yán gē hūn shì de yòu qíng rén zhōng chéng juàn shǔ。
ào màn yǔ piān jiàn [ xiǎo shuō ]- yǔ yán tè sè
《 ào màn yǔ piān jiàn》 shì jiǎn · ào sī dīng (JaneAusten) de dài biǎo zuò pǐn， xiě yú shí bā shì jì jiǔ shí nián dài， qí yǐng xiǎng jīng lì liǎng shì jì 'ér bù shuāi， bìng duì hòu dài zuò jiā chǎn shēng yǐng xiǎng， qí zhòng yào de yuán yīn zhī yī jiù shì xiǎo shuō de yǔ yán mèi lì。 zài yǔ yán zhōng duì huà shì wén xué zuò pǐn sù zào rén wù xíng xiàng zuì jī běn de shǒu duàn zhī yī， jiǎn . ào sī dīng bǐ xià de rén wù duì huà xiān míng shēng dòng， pō jù gè xìng， hán yì fēng fù， nài rén xún wèi。 běn wén yòng huì huà hé zuò yuán zé fēn xī《 ào màn yǔ piān jiàn》 shū zhōng de rén wù duì huà fēng gé， jiě kāi jiǎn · ào sī dīng zuò pǐn zhōng rén wù duì huà yǔ yán fēng gé jī zhì yōu mò miào qù héng shēng zhī mí。 ào sī dīng de yǔ yán shì jīng guò chuí liàn de， tā zài duì huà yì shù shàng jiǎng jiū yōu mò、 huī xié fēng qù、 fěng cì， zhè zhǒng yì shù chuàng xīn shǐ tā de zuò pǐn jù yòu zì jǐ de tè sè， ér zhè zhǒng fù yòu tè sè de yǔ yán zài《 ào màn yǔ piān jiàn》 zhōng fā huī dé yóu wéi lín lí jìn zhì。
bǐ rú zài xiě bān nà tè tài tài shí， zuò zhě jiù zhè yàng xiě dào：“ zhǐ yào pèng dào bù chēng xīn de shì， tā jiù zì yǐ wéi shén jīng shuāi ruò。” yòu zài bān nà tè tài tài yǔ qí zhàng fū de duì huà zhōng xiě dào：“ wǒ de hǎo lǎo yé， nǐ zěn me shè dé zhè yàng zāo tà zì jǐ de qīn shēng nǚ 'ér？ nǐ shì zài gù yì jiào wǒ qì nǎo， hǎo ràng nǐ zì jǐ dé yì bā。 nǐ bàn diǎn yě bù tǐ liàng wǒ de shén jīng shuāi ruò。”“ nǐ zhēn cuò guài liǎo wǒ， wǒ de hǎo tài tài。 wǒ fēi cháng zūn zhòng nǐ de shén jīng。 tā men shì wǒ de lǎo péng yǒu。 zhì shǎo zài zuì jìn 'èr shí nián yǐ lái， wǒ yī zhí tīng dào nǐ zhèng zhòng qí shì dì tí dào tā men。” huó líng huó xiàn de yǔ yán， jué miào de cháo fěng yǔ huī xié， lì kè shǐ liǎng gè bù tóng de rén wù xíng xiàng zài dú zhě nǎo hǎi zhōng biàn dé lì tǐ 'ér qīng xī。
zài rú lìng yī gè piàn duàn de miáo xiě： kā tái lín fū rén de mǎ chē lù guò mén kǒu， kē lín sī mù shī quán jiā shǒu máng jiǎo luàn chū qù yíng jiē， yī lì suō bái què shuō：“ jiù shì zhè me huí shì má？ wǒ hái yǐ wèishì zhū luó chuǎng jìn liǎo huā yuán ní。” zhí shuài de wā kǔ， chuō chuān liǎo kā tái lín fū rén zì jǐ chuī qǐ lái de hǔ rén jià shì， yě shǐ yī lì suō bái zhè gè miè shì quán guì de xíng xiàng zài rén men nǎo hǎi zhōng liú xià liǎo gēngshēn de yìn xiàng， yuè fā jué dé tā de kě 'ài。 ào sī tīng hái shàn yú tōng guò zuì pǔ tōng de yǔ yán ràng rén wù zì jǐ bào lù zì jǐ。 lì rú xiǎo shuō kāi tóu shí， bān nà tè tài tài céng shuō láng gé tài tài“ shì gè zì sī zì lì、 jiǎ rén jiǎ yì de nǚ rén， wǒ qiáo bù qǐ tā。” ér dào gù shì de jié wěi， dāng qí dà nǚ 'ér yǔ bīn gé lāi de hūn shì yǐ chéng dìng jú shí， tā yòu shuō“ wǒ jué dé láng gé tài tài zhè gè rén zhēn shì tài hǎo liǎo。” zhè liǎng duàn jié rán xiāng fǎn de huà， ràng dú zhě bù jìn yǎ rán shī xiào de tóng shí， yòu duō me shēng dòng dì biǎo xiàn chū bān nà tè tài tài de fǎn fù wú cháng、 zì wǒ zhōng xīn。 zhè yàng de lì zǐ zài shū zhōng hái yòu hěn duō。 yī gè céng chōng mǎn piān jiàn de yī lì suō bái、 yī gè céng hún shēn 'ào màn de dá xī、 yī duì yòu qù de bān nà tè fū fù、 yī gè kě xiào de kē lín sī、 zhòng duō chū chángrén wù、 zài jiā shàng xǐ jù xiào guǒ hé tè shū xiě zuò jì qiǎo， zhè jiù shì《 ào màn yǔ piān jiàn》， què bù shì tā de quán bù。 ào sī tīng de yōu mò shì xū yào fǎn fù jǔjué de。
ào màn yǔ piān jiàn [ xiǎo shuō ]- píng jià
1、 ào sī dīng zài zhè bù xiǎo shuō zhōng tōng guò bān nà tè wǔ gè nǚ 'ér duì dài zhōng shēn dà shì de bù tóng chǔlǐ， biǎo xiàn chū xiāng zhèn zhōng chǎn jiē jí jiā tíng chū shēn de shàonǚ duì hūn yīn 'ài qíng wèn tí de bù tóng tài dù， cóng 'ér fǎn yìng liǎo zuò zhě běn rén de hūn yīn guān： wèile cái chǎn、 jīn qián hé dì wèi 'ér jié hūn shì cuò wù de； ér jié hūn bù kǎo lǜ shàng shù yīn sù yě shì yú chǔn de。 yīn cǐ， tā jì fǎn duì wéi jīn qián 'ér jié hūn， yě fǎn duì bǎ hūn yīn dāng 'ér xì。 tā qiáng diào lǐ xiǎng hūn yīn de zhòng yào xìng， bìng bǎ nán nǚ shuāng fāng gǎn qíng zuò wéi dì jié lǐ xiǎng hūn yīn de jī shí。 shū zhōng de nǚ zhù rén gōng yī lì suō bái chū shēn yú xiǎo dì zhù jiā tíng， wéi fù háo zǐ dì dá xī suǒ rè 'ài。 dá xī bù gù mén dì hé cái fù de chā jù， xiàng tā qiú hūn， què zāo dào jù jué。 yī lì suō bái duì tā de wù huì hé piān jiàn shì yī gè yuán yīn， dàn zhù yào de shì tā tǎo yàn tā de 'ào màn。 yīn wéi dá xī de zhè zhǒng 'ào màn shí jì shàng shì dì wèi chā yì de fǎn yìng， zhǐ yào cún zài zhè zhǒng 'ào màn， tā yǔ yī lì suō bái zhī jiān jiù bù kě néng yòu gòng tóng de sī xiǎng gǎn qíng， yě bù kě néng yòu lǐ xiǎng de hūn yīn。 yǐ hòu yī lì suō bái qīn yǎn guān chá liǎo dá xī de wéi rén chǔshì hé yī xì liè suǒ zuò suǒ wéi， tè bié shì kàn dào tā gǎi biàn liǎo guò qù nà zhǒng jiāo 'ào zì fù de shén tài， xiāo chú liǎo duì tā de wù huì hé piān jiàn， cóng 'ér yǔ tā dì jié liǎo měi mǎn yīn yuán。 yī lì suō bái duì dá xī xiān hòu jǐ cì qiú hūn de bù tóng tài dù， shí jì shàng fǎn yìng liǎo nǚ xìng duì rén gé dú lì hé píng děng quán lì de zhuī qiú。 zhè shì yī lì suō bái zhè yī rén wù xíng xiàng de jìn bù yì yì。 zài《 ào màn yǔ piān jiàn》 zhōng， ào sī dīng hái xiě liǎo yī lì suō bái de jǐ gè jiě mèi hé nǚ yǒu de hūn shì， zhè xiē dōushì péi chèn， yòng lái yǔ nǚ zhù rén gōng lǐ xiǎng de hūn yīn xiāng duì zhào。 rú xià luò tè hé kē lín sī jìn guǎn hūn hòu guò zhe shū shì de wù zhì shēng huó， dàn tā men zhī jiān méi yòu 'ài qíng， zhè zhǒng hūn yīn shí jì shàng shì yǎn gài zài huá lì wài yī xià de shè huì bēi jù。 hái yòu tā de jiě jiě yě shì wán měi jié jú de。 bù guò tā men suǒ jīng lì de yuǎn yuǎn méi yòu yī lì suō bái hé dá xī zhè yàng cóng tǎo yàn wù huì dào xiāng 'ài de， yī kāi shǐ jiù xiāng 'ài， yòu diǎn xiàng yī jiàn zhōng qíng de wèi dào。 cóng 'ér kàn chū， jīng lì bō zhé de 'ài qíng cái shì wán měi shēn kè de。
ào sī dīng de xiǎo shuō jìn guǎn tí cái bǐ jiào xiá zhǎi， gù shì xiāng dāng píng dàn， dàn shì tā shàn yú zài rì cháng píng fán shì wù zhōng sù zào xiān míng de rén wù xíng xiàng， bù lùn shì yī lì suō bái、 dá xī nà zhǒng zuò zhě rèn wéi zhí dé kěn dìng de rén wù， hái shì wēi kěn、 kē lín sī zhè lèi zāo dào fěng cì wā kǔ de duì xiàng， dū xiěde zhēn shí dòng rén。 tóng shí， ào sī dīng de yǔ yán shì jīng guò chuí liàn de， tā zài duì huà yì shù shàng jiǎng jiū yōu mò、 fěng cì， cháng yǐ fēng qù huī xié de yǔ yán lái hōng tuō rén wù de xìng gé tè zhēng。 zhè zhǒng yì shù chuàng xīn shǐ tā de zuò pǐn jù yòu zì jǐ de tè sè。
2、 ài qíng shì xiǎo shuō yǒng héng de zhù tí，《 ào màn yǔ piān jiàn》 yǐ 'ài qíng hé hūn yīn wéi zhù yào nèi róng， zì rán shì xī yǐn dú zhě de。 dàn miáo xiě 'ài qíng de xiǎo shuō bù jì qí shù（ yán qíng xiǎo shuō sì hū jiù hěn duō chǎn）， yào xiàng《 ào màn yǔ piān jiàn》 zhè yàng zài shì jiè wén xué zhōng zhàn yòu yī xí zhī dì， yě bìng bù shì yī jiàn róng yì de shì。《 ào màn yǔ piān jiàn》 zhī suǒ yǐ chēng dé shàng shì jiè wén xué míng zhù 'ér bù liú sú yú yī bān 'ài qíng xiǎo shuō， zì yòu tā de mèi lì suǒ zài。 nà me dào dǐ shì shénme shǐ tā tuō yíng 'ér chū ní？ yī bù hǎo de xiǎo shuō， nèi róng、 qíng jié shì fēi cháng zhòng yào de。《 ào màn yǔ piān jiàn》 de nèi róng bìng bù fù zá， qíng jié què yǐn rén rù shèng。 dú guò běn shū de dú zhě yīnggāi duì xiǎo shuō kāi piān de yī jù huà jì yì yóu xīn：“ fán shì yòu cái chǎn de dān shēn hàn， bì dìng xū yào qǔ wèi tài tài， zhè yǐ jīng chéng liǎo yī tiáo jǔ shì gōng rèn de zhēn lǐ。 (Itisatrueuniversallyacknowledged,thatasinglemaninpossessionofagoodfortunemustbeinwantofawife.)” zài yīng wén zhōng inwantof shì zhǐ kè guān xū yào， ér bù shì zhù guān xiǎng yào； zhè jiǎn jiǎn dān dān de yī jù huà què shēn shēn fǎn yìng chū zī chǎn jiē jí hūn yīn de shí zhì wú fēi shì jīn qián jiāo yì yǔ lì yì de jié hé， kě jiàn zuò zhě de mù guāng zhī tòu chè xī lì， yě zhèng yìng zhèng liǎo qián miàn suǒ shuō de xì wēi zhī chù què néng fǎn yìng dà wèn tí。 xiǎo shuō kāi piān jiù zhè yàng láo láo zhuā zhù liǎo dú zhě， jiē zhe tōng guò bān nà tè fū fù fēng qù de duì huà， bǎ dú zhě dài jìn yī gè nǚ 'ér duō dé fā chóu de zhōng chǎn jiē jí jiā tíng zhōng。 zhè gè jiā tíng jiā dào yǐ jīng zhōng luò， què hái yòu 5 gè dài jià de nǚ 'ér， ér qiě bù xìng bān nà tè xiān shēng yòu méi yòu 'ér zǐ， qí cái chǎn jiāng yóu biǎo qīn kē lín sī jì chéng。 zài zī chǎn jiē jí shè huì， rú guǒ nǚ hái méi yòu fēng hòu de jià zhuāng， jiù shì zài yòu cái mào， yě nán zhǎo dào tǐ miàn de zhàng fū， jiù xiàng shū zhōng dá xī suǒ shuō：“ tā men cháng shǐ xiǎng jià gěi yòu dì wèi de nán rén， jī huì kě jiù dà dà jiǎn shǎo liǎo。” suǒ yǐ chù zài hūn yīn yào quán héng shuāng fāng jiē jí dì wèi hé jīn qián lì hài de qíng kuàng xià， zhè wǔ wèi gū niàn de chū jià qián jǐng què shí bù tài měi miào。 xiǎo shuō cǎi yòng gǔ diǎn de xiàn shí zhù yì bǐ fǎ， miáo xiě liǎo sì duì qīng nián nán nǚ de jié hé， tōng guò bān nà tè wǔ gè nǚ 'ér duì dài zhōng shēn dà shì de bù tóng chǔlǐ， biǎo xiàn chū xiāng zhèn zhōng chǎn jiē jí jiā tíng chū shēn de shàonǚ duì hūn yīn 'ài qíng wèn tí de bù tóng tài dù， yě jiè cǐ biǎo dá liǎo zuò zhě běn rén de hūn yīn guān， jí wéi cái chǎn dǎ suàn de hūn yīn shì méi yòu xìng fú de， jié hūn bù kǎo lǜ cái chǎn shì yú chǔn de， jiǎng jiū mén dì de bāo bàn hūn yīn bù kān rěn shòu， bǎ hūn yīn dāng 'ér xì háo bù zú qǔ， lǐ xiǎng de hūn yīn yào yǐ gǎn qíng wéi jī chǔ。 shū zhōng de nǚ zhù rén gōng yī lì suō bái yǔ dá xī bù gù mén dì hé cái fù de chā jù， zhēn xīn xiāng 'ài， měi mǎn jié hé， shì zuò zhě suǒ sòng yáng de xìng fú hūn yīn。 cóng yī lì suō bái de shēn shàng， wǒ men kě yǐ kàn dào nǚ xìng duì rén gé dú lì hé píng děng quán lì de zhuī qiú； zuò zhě suī rán méi yòu fǎn yìng chū tā nà gè shí dài de jiē jí máo dùn hé jiē jí dǒu zhēng， rán 'ér tā de qiáng liè de jiē jí yì shí què biǎo xiàn liǎo chū lái， duì jīng jì、 cái chǎn jué dìng hūn yīn guān xì nǎi zhì shēng huó mìng yùn de jiē lù yě kě wèi rù mù sān fēn。 xī fāng yòu wèi mǎ kè sī zhù yì pī píng jiā dà wèi dài kè sī céng bàn kāi wán xiào de shuō， zài“ jiē lù rén lèi xíng wéi de jīng jì yuán yīn” fāng miàn， ào sī tīng“ cóng mǒu zhǒng yì yì shàng kě yǐ shuō zài mǎ kè sī yǐ qián jiù shì mǎ kè sī zhù yì zhě liǎo。”
The story follows the main character Elizabeth Bennet as she deals with issues of manners, upbringing, moral rightness, education and marriage in her aristocratic society of early 19th century England. Elizabeth is the second eldest of five daughters of a country gentleman landed in the fictional town of Meryton in Hertfordshire, not far from London.
Though the story's setting is uniquely turn of the 19th century, it retains a fascination for modern readers, continuing near the top of lists of 'most loved books' such as the Big Read. It still receives considerable attention from literary critics. This modern interest has resulted in a number of dramatic adaptations and an abundance of novels and stories imitating Austen's memorable characters or themes.
To date, the book has sold some 20 million copies worldwide.
Plot summary
The novel revolves around the Bennet family. The five marriageable daughters and mother will be without a home and income once Mr. Bennet dies: The terms on which Mr. Bennet inherited Longbourn ("fee tail male," now abolished by statute in England) prohibit women from inheriting it, with the effect that instead one of Mr. Bennet's collateral relatives will inherit the estate. The mother worries about this predicament, and wishes to find husbands for them quickly. The father doesn't seem to be worried at all, and Elizabeth, the heroine, has decided to only marry for love, even though she has no real ideas about how she will survive financially. She is of the opinion that her sister Jane, being kind and beautiful, will find a wealthy husband, and that she can then live with her. As the novel opens, Mr Bingley, a wealthy young gentleman, rents a country estate near the Bennets called Netherfield. He arrives in town accompanied by his fashionable sisters and his good friend, Mr Darcy. While Bingley is well-received in the community, Darcy begins his acquaintance with smug condescension and proud distaste for all the 'country' people. Bingley and Elizabeth Bennet's older sister Jane begin to grow close. Elizabeth's best friend Charlotte advises that Jane should be more affectionate to Bingley, as they are both shy, and he may not know that she is indeed interested in him. Elizabeth disregards her friend's opinion, saying that Jane is shy and modest, and that if Bingley can't see how she feels, he is a fool. With that, she never even tells Jane what Charlotte advised. Elizabeth is stung by Darcy's haughty rejection of her at a local dance and decides to match his coldness with her own wit.
At the same time Elizabeth begins a friendship with Mr Wickham, a militia officer who relates a prior acquaintance with Darcy. Wickham tells her that he has been seriously mistreated by Darcy. Elizabeth immediately seizes upon this information as another reason to hate Darcy. Ironically, but unbeknownst to her, Darcy finds himself gradually drawn to Elizabeth.
Just as Bingley appears to be on the point of proposing marriage to Jane Bennet, he quits Netherfield, leaving Jane confused and upset. Elizabeth is convinced that Bingley's sister has conspired with Darcy to separate Jane and Bingley.
Before Bingley leaves, Mr Collins, the male relative who is to inherit Longbourn, makes a sudden appearance and stays with the Bennets. He is a recently ordained clergyman employed by the wealthy and patronizing Lady Catherine de Bourgh. Though he was partially entreated to visit by his patroness, Collins has another reason for visiting: he wishes to find a wife from among the Bennet sisters. Mr Bennet and Elizabeth are amused by his self-important and pedantic behaviour. He immediately enters pursuit of Jane; however, when Mrs Bennet mentions her preoccupation with Mr Bingley, he turns to Elizabeth. He soon proposes marriage to Elizabeth, who refuses him, much to her mother's distress. Collins quickly recovers and proposes to Elizabeth's close friend, Charlotte Lucas, who immediately accepts him. Once the marriage is arranged, Charlotte asks Elizabeth to come for an extended visit.
In the spring, Elizabeth joins Charlotte and her cousin at his parish in Kent. The parish is adjacent to Rosings Park, the grand manor of Mr Darcy's aunt, Lady Catherine de Bourgh, where Elizabeth is frequently invited. While calling on Lady Catherine, Mr Darcy encounters Elizabeth. She discovers from a cousin of Darcy that it was he who separated Bingley and Jane. Soon after, Darcy admits his love of Elizabeth and proposes to her. Insulted by his high-handed and insulting manner of proposing, Elizabeth refuses him. When he asks why she should refuse him, she confronts him with his sabotage of Bingley's relationship with Jane and Wickham's account of their dealings.
Deeply shaken by Elizabeth's vehemence and accusations, Darcy writes her a letter justifying his actions. The letter reveals that Wickham soon dissipated his legacy-settlement (from Darcy's father's estate), then came back to Darcy requesting permanent patronage; and that he became angry when rejected, accusing Darcy of cheating him. To exact revenge and to make off with part of the Darcy family fortune, he attempted to seduce Darcy's young sister Georgiana—to gain her hand and fortune, almost persuading her to elope with him—before he was found out and stopped. Towards Bingley and Jane, Darcy justifies his actions from having observed that Jane did not show any reciprocal interest in his friend; thus his aim in separating them was mainly to protect Bingley from heartache.
Darcy admits he was concerned about the disadvantageous connection with Elizabeth's family, especially her embarrassing mother and wild younger sisters. After reading the letter, Elizabeth begins to question both her family's behaviour and Wickham's credibility. She concludes that Wickham is not as trustworthy as his easy manners would indicate, that he had lied to her previously, and that her early impressions of Darcy might have been inaccurate. Soon after receiving the letter, Elizabeth returns home.
Elizabeth tells her father that Darcy was responsible for uniting Lydia and Wickham. This is one of the two earliest illustrations of Pride and Prejudice. The clothing styles reflect the time the illustration was engraved (the 1830s), not the time the novel was written or set.
Some months later, during a tour of Derbyshire with her aunt and uncle, Elizabeth visits Pemberley, Darcy's estate. Darcy's housekeeper, an older woman who has known Darcy since childhood, presents Elizabeth and her relatives with a flattering and benevolent impression of his character. Unexpectedly, Darcy arrives at Pemberley as they tour its grounds. He makes an effort to be gracious and welcoming to them, thus strengthening Elizabeth's newly favourable impression of him. Darcy then introduces Elizabeth to his sister Georgiana. He treats her uncle and aunt very well, and finds them of a more sound character than her other relatives, whom he previously dismissed as socially inferior.
Elizabeth and Darcy's renewed acquaintance is cut short when news arrives that Elizabeth's younger sister Lydia has run away with Wickham. Initially, the Bennets believe that Wickham and Lydia have eloped, but soon it is surmised that Wickham has no plans to marry Lydia. Lydia's antics threaten the family's reputation and the Bennet sisters with social ruin. Elizabeth and her aunt and uncle hurriedly leave Derbyshire, and Elizabeth is convinced that Darcy will avoid her from now on.
Soon, thanks to the intervention of Elizabeth's uncle, Lydia and Wickham are found and married. After the marriage, Wickham and Lydia make a visit to Longbourn. While bragging to Elizabeth, Lydia comments that Darcy was present at the wedding. Surprised, Elizabeth sends an inquiry to her aunt, from whom she discovers that Darcy was responsible for both finding the couple and arranging their marriage at great expense to himself.
Soon after, Bingley and Darcy return to the area. Bingley proposes marriage to Jane, and this news starts rumors that Darcy will propose to Elizabeth. Lady Catherine travels to Longbourn with the sole aim of confronting Elizabeth and demanding that she never accept such a proposal. Elizabeth refuses to bow to Lady Catherine's demands. When news of this obstinance reaches Darcy, it convinces him that her opinion of him has changed. When he visits, he once again proposes marriage. Elizabeth accepts, and the two become engaged.
The final chapters of the book establish the future of the characters. Elizabeth and Darcy settle at Pemberley where Mr Bennet visits often. Mrs Bennet remains frivolous and silly; she often visits the new Mrs Bingley and talks of the new Mrs Darcy. Later, Jane and Bingley move from Netherfield to avoid Jane's mother and Meryton relations and to locate near the Darcys in Derbyshire. Elizabeth and Jane manage to teach Kitty greater social grace, and Mary learns to accept the difference between herself and her sisters' beauty and mixes more with the outside world. Lydia and Wickham continue to move often, leaving their debts for Jane and Elizabeth to pay off. At Pemberley, Elizabeth and Georgiana grow close, though Georgiana is surprised by Elizabeth's playful treatment of Darcy. Lady Catherine stays very angry with her nephew's marriage but over time the relationship between the two is repaired and she eventually decides to visit them. Elizabeth and Darcy also remain close with her uncle and aunt.
Main characters
[show]Character genealogy
Mr Hurst
Mrs Hurst
Mr Philips
Caroline Bingley
Mrs Philips
Mr Charles Bingley
Mrs Gardiner
Jane Bennet
Mr Gardiner
Elizabeth Bennet
Mrs Bennet
Mary Bennet
Mr Bennet
Catherine "Kitty" Bennet
Mr William Collins
Lydia Bennet
Charlotte Lucas
Mr George Wickham
(Old) Mr Darcy
Mr Fitzwilliam Darcy
Lady Anne Darcy
Georgiana Darcy
Lady Catherine De Bourgh
Anne De Bourgh
Lord ——
Colonel Fitzwilliam
* Elizabeth Bennet is the main character and protagonist. The reader sees the unfolding plot and the other characters mostly from her viewpoint. The second of the Bennet daughters at twenty years old, she is intelligent, lively, attractive, and witty, but with a tendency to judge on first impressions and perhaps to be a little selective of the evidence upon which she bases her judgments. As the plot begins, her closest relationships are with her father, her sister Jane, her aunt Mrs Gardiner, and her best friend Charlotte Lucas.
* Mr Fitzwilliam Darcy is the main male character. Twenty-eight years old and unmarried, Darcy is the wealthy owner of the famous family estate of Pemberley in Derbyshire. Handsome, tall, and intelligent, but not convivial, his aloof decorum and moral rectitude are seen by many as an excessive pride and concern for social status. He makes a poor impression on strangers, such as the gentry of Meryton, but is valued by those who know him well.
* Mr Bennet has a wife and five daughters, and seems to have inurred himself to his fate. A bookish and intelligent gentleman somewhat withdrawn from society, he dislikes the indecorous behaviours of his wife and three younger daughters; but he offers little beyond mockery by way of correcting them. Rather than guiding these daughters to more sensible understanding, he is instead content to laugh at them. He relates very well with his two elder daughters, Jane and Elizabeth, showing them much more love and respect than his wife and younger daughters.
* Mrs Bennet is the wife of her social superior Mr Bennet, and mother of Elizabeth and her sisters. She is frivolous, excitable, and narrow-minded. She is susceptible to attacks of tremors and palpitations; her public manners and social climbing are embarrassing to Jane and Elizabeth. Her favourite daughter is the youngest, Lydia.
Lady Catherine confronts Elizabeth about Darcy, on the title page of the first illustrated edition. This is the other of the first two illustrations of the novel.
* Jane Bennet is the eldest Bennet sister. Twenty-two years old when the novel begins, she is considered the most beautiful young lady in the neighbourhood. Her character is contrasted with Elizabeth's as sweeter, shyer, and equally sensible, but not as clever; her most notable trait is a desire to see only the good in others. Jane is closest to Elizabeth, and her character is often contrasted with that of Elizabeth.
* Mary Bennet is the only plain Bennet sister, and rather than join in some of the family activities, she reads, although is often impatient for display. She works hard for knowledge and accomplishment, but has neither genius nor taste. At the ball at Netherfield, she embarrasses her family by singing badly.
* Catherine "Kitty" Bennet is the fourth Bennet sister, aged seventeen. She is portrayed as a less headstrong but equally silly shadow of Lydia.
* Lydia Bennet is the youngest Bennet sister, aged fifteen. She is repeatedly described as frivolous and headstrong. Her main activity in life is socialising, especially flirting with the military officers stationed in the nearby town of Meryton. She dominates her older sister Kitty and is supported in the family by her mother. After she elopes with Wickham and he is paid to marry her, she shows no remorse for the embarrassment that her actions caused for her family, but acts as if she has made a wonderful match of which her sisters should be jealous.
* Charles Bingley is a young gentleman without an estate. His wealth was recent, and he is seeking a permanent home. He rents the Netherfield estate near Longbourn when the novel opens. Twenty-two years old at the start of the novel, handsome, good-natured, and wealthy, he is contrasted with his friend Darcy as being less intelligent but kinder and more charming, and hence more popular in Meryton. He lacks resolve and is easily influenced by others.
* Caroline Bingley is the snobbish sister of Charles Bingley. Clearly harbouring romantic intentions on Darcy herself, she views his growing attachment to Elizabeth Bennet with some jealousy, resulting in disdain and frequent verbal attempts to undermine Elizabeth and her society.
* George Wickham is an old acquaintance of Darcy from childhood, and an officer in the militia unit stationed near Meryton. Superficially charming, he rapidly forms a friendship with Elizabeth Bennet, prompting remarks upon his suitability as a potential husband. He spreads numerous tales about the wrongs Darcy has done to him, colouring the popular perception of the other man in local society. It is eventually revealed that these tales are distortions, and that Darcy was the wronged man in their acquaintance.
* William Collins, aged twenty-five, is Mr Bennet's clergyman cousin and, as Mr Bennet has no son, heir to his estate. Austen described him as "not a sensible man, and the deficiency of nature had been but little assisted by education or society." Collins boasts of his acquaintance with — and advantageous patronage from — Lady Catherine de Bourgh. Mr Bennet, Jane, and Elizabeth consider him pompous and lacking in common sense. Elizabeth's rejection of Collins' marriage proposal is welcomed by her father, regardless of the financial benefit to the family of such a match. Elizabeth is later somewhat distressed — although understanding — when her closest friend, Charlotte Lucas, consents to marry Collins out of her need for a settled position and to avoid the low status and lack of autonomy of an old maid.
* Lady Catherine de Bourgh, who has wealth and social standing, is haughty, domineering and condescending. Mr Collins, among others, enables these characteristics by deferring to her opinions and desires. Elizabeth, however, is duly respectful but not intimidated. Darcy, whilst respectful of their shared family connection, is offended by her lack of manners, especially towards Elizabeth, and later — when pressed by her demand that he not marry Elizabeth — is quick to assert his intentions to marry whom he wishes.
* Mr Gardiner is Mrs Bennet's brother, and a businessman. He is quite sensible and gentleman-like. He tries to help Lydia when she elopes with Wickham. His wife has close relationships with Elizabeth and Jane. Jane stays with the Gardiners in London for a while, and Elizabeth travels with them to Derbyshire, where she again meets Darcy.
* Georgiana Darcy is Mr Darcy's quiet and amiable younger sister, aged sixteen when the story begins. In a letter from Mr Darcy to Elizabeth, he describes that Wickham tried to persuade her to elope with him and inherit her 30,000 pounds. Later on, Elizabeth meets her at their home at Pemberly, where she is amiable and sweet. She is very happy with her brother's choosing of Elizabeth and maintains an extremely close relationship to both of them.
Interrelationships
A comprehensive web showing the relationships between the main characters in Pride and Prejudice
Major themes
Many critics take the novel's title as a starting point when analysing the major themes of Pride and Prejudice; however, Robert Fox cautions against reading too much into the title since commercial factors may have played a role in its selection. "After the success of Sense and Sensibility, nothing would have seemed more natural than to bring out another novel of the same author using again the formula of antithesis and alliteration for the title. It should be pointed out that the qualities of the title are not exclusively assigned to one or the other of the protagonists; both Elizabeth and Darcy display pride and prejudice."
A major theme in much of Austen's work is the importance of environment and upbringing on the development of young people's character and morality. Social standing and wealth are not necessarily advantages in her world, and a further theme common to Jane Austen's work is ineffectual parents. In Pride and Prejudice, the failure of Mr and Mrs Bennet (particularly the latter) as parents is blamed for Lydia's lack of moral judgment; Darcy, on the other hand, has been taught to be principled and scrupulously honourable, but is also proud and overbearing. Kitty, rescued from Lydia's bad influence and spending more time with her older sisters after they marry, is said to improve greatly in their superior society.
Style
Pride and Prejudice, like most of Jane Austen's works, employs the narrative technique of free indirect speech. This has been defined as "the free representation of a character's speech, by which one means, not words actually spoken by a character, but the words that typify the character's thoughts, or the way the character would think or speak, if she thought or spoke". By using narrative which adopts the tone and vocabulary of a particular character (in this case, that of Elizabeth), Austen invites the reader to follow events from Elizabeth's viewpoint, sharing her prejudices and misapprehensions. "The learning curve, while undergone by both protagonists, is disclosed to us solely through Elizabeth's point of view and her free indirect speech is essential ... for it is through it that we remain caught, if not stuck, within Elizabeth's misprisions."
Publication history
Modern paperback editions of Pride and Prejudice
The novel was originally titled First Impressions by Jane Austen, and was written between October 1796 and August 1797. On 1 November 1797 Austen's father gave the draft to London bookseller Thomas Cadell in hopes of it being published, but it was rejected. The unpublished manuscript was returned to Austen and it stayed with her.
Austen made significant revisions to the manuscript for First Impressions between 1811 and 1812. She later renamed the story Pride and Prejudice. In renaming the novel, Austen probably had in mind the "sufferings and oppositions" summarized in the final chapter of Fanny Burney's Cecilia, called "Pride and Prejudice", where the phrase appears three times in block capitals. It is possible that the novel's original title was altered to avoid confusion with other works. In the years between the completion of First Impressions and its revision into Pride and Prejudice, two other works had been published under that name: a novel by Margaret Holford and a comedy by Horace Smith.
Austen sold the copyright for the novel to Thomas Egerton of Whitehall in exchange for £110 (Austen had asked for £150). This proved a costly decision. Austen had published Sense and Sensibility on a commission basis, whereby she indemnified the publisher against any losses and received any profits, less costs and the publisher's commission. Unaware that Sense and Sensibility would sell out its edition, making her £140, she passed the copyright to Egerton for a one-off payment, meaning that all the risk (and all the profits) would be his. Jan Fergus has calculated that Egerton subsequently made around £450 from just the first two editions of the book.
Egerton published the first edition of Pride and Prejudice in three hardcover volumes in January 1813, priced at 18s. Favourable reviews saw this edition sold out, with a second edition published in November that year. A third edition was published in 1817.
Foreign language translations first appeared in 1813 in French; subsequent translations were published in German, Danish and Swedish. Pride and Prejudice was first published in the United States in August 1832 as Elizabeth Bennet or, Pride and Prejudice. The novel was also included in Richard Bentley's Standard Novel series in 1833. R. W. Chapman's scholarly edition of Pride and Prejudice, first published in 1923, has become the standard edition from which many modern publications of the novel are based.
Reception
The novel was well received, with three favourable reviews in the first months following publication. Jan Fergus calls it "her most popular novel, both with the public and with her family and friends", and quotes David Gilson's A Bibliography of Jane Austen (Clarendon, 1982), where it is stated that Pride and Prejudice was referred to as "the fashionable novel" by Anne Isabella Milbanke, later to be the wife of Lord Byron. However, others did not agree. Charlotte Brontë wrote to noted critic and reviewer George Henry Lewes after reading a review of his published in Fraser's Magazine in 1847. He had praised Jane Austen's work and declared that he, "... would rather have written Pride and Prejudice, or Tom Jones, than any of the Waverley Novels". Miss Brontë, though, found Pride and Prejudice a disappointment, "... a carefully fenced, highly cultivated garden, with neat borders and delicate flowers; but ... no open country, no fresh air, no blue hill, no bonny beck."
Modern popularity
* In 2003 the BBC conducted the largest ever poll for the "UK's Best-Loved Book" in which Pride and Prejudice came second, behind The Lord of the Rings.
* In a 2008 survey of more than 15,000 Australian readers, Pride and Prejudice came first in a list of the 101 best books ever written.
Adaptations
Film, television, and theatre
Pride and Prejudice has engendered numerous adaptations. Some of the notable film versions include that of 1940 starring Greer Garson and Laurence Olivier, that of 2003 starring Kam Heskin and Orlando Seale (which placed the characters of Pride and Prejudice in a Mormon university, and was directed by Andrew Black and that of 2005 starring Keira Knightley (in an Oscar-nominated performance) and Matthew Macfadyen. Notable television versions include two by the BBC: the 1995 version starring Jennifer Ehle and Colin Firth, and a 1980 version starring Elizabeth Garvie and David Rintoul. A 1936 stage version was created by Helen Jerome played at the St. James's Theatre in London, starring Celia Johnson and Hugh Williams. First Impressions was a 1959 Broadway musical version starring Polly Bergen, Farley Granger, and Hermione Gingold. In 1995, a musical concept album was written by Bernard J. Taylor, with Peter Karrie in the role of Mr Darcy and Claire Moore in the role of Elizabeth Bennet. A new stage production, Jane Austen's Pride and Prejudice, The New Musical, was presented in concert on 21 October 2008 in Rochester, New York with Colin Donnell as Darcy. The popular film Bridget Jones's Diary is a contemporary retelling, starring Renee Zellweger as a modern day Elizabeth, and Colin Firth, once again, as Mr Darcy.
Bride and Prejudice, starring Aishwarya Rai, is a Bollywood adaptation of the novel, while Pride & Prejudice: A Latter-Day Comedy (2003) places the novel in contemporary times. The off-Broadway musical I Love You Because reverses the gender of the main roles, set in modern day New York City. The Japanese comic Hana Yori Dango by Yoko Kamio, in which the wealthy, arrogant and proud protagonist, Doumyouji Tsukasa, falls in love with a poor, lower-class girl named Makino Tsukushi, is loosely based on Pride and Prejudice. A 2008 Israeli television six-part miniseries set the story in the Galilee with Mr Darcy a well-paid worker in the high-tech industry.
Pride and Prejudice has also crossed into the science fiction and horror genres. In the 1997 episode of science fiction comedy Red Dwarf entitled "Beyond a Joke", the crew of the space ship relax in a virtual reality rendition of "Pride and Prejudice Land" in "Jane Austen World". The central premise of the television miniseries Lost in Austen is a modern woman suddenly swapping lives with that of Elizabeth Bennet. In February 2009, it was announced that Elton John's Rocket Pictures production company was making a film, Pride and Predator, based on the story, but with the added twist of an alien landing in Longbourne.
Literature
The novel has inspired a number of other works that are not direct adaptations. Books inspired by Pride and Prejudice include: Mr. Darcy's Daughters and The Exploits and Adventures of Miss Alethea Darcy by Elizabeth Aston; Pemberley: Or Pride and Prejudice Continued and An Unequal Marriage: Or Pride and Prejudice Twenty Years Later by Emma Tennant; The Book of Ruth (ASIN B00262ZRBM) by Helen Baker; Jane Austen Ruined My Life and Mr. Darcy Broke My Heart by Beth Pattillo; Precipitation - A Continuation of Miss Jane Austen's Pride and Prejudice by Helen Baker; Searching for Pemberley by Mary Simonsen and Mr. Darcy Takes a Wife and its sequel Darcy & Elizabeth: Nights and Days at Pemberly by Linda Berdoll. In Gwyn Cready's comedic romance novel, Seducing Mr. Darcy, the heroine lands in Pride and Prejudice by way of magic massage, has a fling with Darcy and unknowingly changes the rest of the story. Bridget Jones's Diary by Helen Fielding, which started as a newspaper column before becoming a novel and a film, was inspired by the then-current BBC adaptation; both works share a Mr. Darcy of serious disposition (both played by Colin Firth), a foolish match-making mother, and a detached affectionate father, as well as the protagonist overhearing Mr. Darcy speaking about her disparagingly, followed by the caddish character gaining the protagonist's affections by telling lies about Mr. Darcy. The self-referential in-jokes continue with the sequel, Bridget Jones: The Edge of Reason.
In March 2009, Quirk Books released Pride and Prejudice and Zombies, which takes Austen's actual, original work, and laces it with zombie hordes, cannibalism, ninjas, and ultra-violent mayhem. Scheduled for publication in March 2010, Quirk Books has announced that it will produce a prequel which deals with Elizabeth Bennett's early days as a zombie hunter, entitled Pride and Prejudice and Zombies: Dawn of the Dreadfuls.
Yet another angle was introduced by Monica Fairview, who wrote about Miss Caroline Bingley in The Other Mr Darcy, published in October 2009. Pride and Prejudice has also inspired many scholarly articles and books including: So Odd a Mixture: Along the Autism Spectrum in 'Pride and Prejudice' by Phyllis Ferguson Bottomer, Forewords by Eileen Sutherland and Tony Attwood.
Marvel has also published their take on this classic, releasing a short comic series of five issues that stays true to the original storyline. The first issue was published on 1 April 2009 and was written by Nancy Hajeski.
Author Amanda Grange wrote Mr. Darcy's Diary in 2007 that tells the original story of Pride and Prejudice from the view of Mr Darcy. In 2009, she wrote Mr. Darcy, Vampyre which reimagines Darcy as a vampire after he has married Elizabeth. Following the same premise is Regina Jeffers' "Vampire Darcy's Desire", which retells Pride and Prejudice on the basis that Darcy is a dhampir (part-human, part-vampire) joined by his lover Elizabeth to fight the evil vampire George Wickham.
ào màn yǔ piān jiàn [ xiǎo shuō ]- zuò zhě jiǎn jiè
jiǎn · ào sī tīng jiǎn · ào sī tīng
jiǎn · ào sī tīng chū shēng yú 1775 nián 12 yuè 16 rì， shì qiáo zhì · ào sī tīng jiā de dì qī gè hái zǐ。 jiǎn · ào sī tīng yī zhí guò zhe 'ān jìng píng hé de yǐn jū shēng huó， tā yī shēng wèi hūn。 yīng guó wén xué shǐ shàng chū xiàn guò jǐ cì qù wèi gé mìng， wén xué kǒu wèi de fān xīn jīhū yǐng xiǎng liǎo suǒ yòu zuò jiā de shēng yù， wéi dú suō shì bǐ yà hé 'ào sī tīng jīng jiǔ bù shuāi。 ér zhè wèi wěi dà de nǚ xìng yī shēng zhǐ zǒu guò liǎo 42 gè chūn xià qiū dōng。 1817 nián 7 yuè 8 rì， tā sǐ yú wēn chè sī tè， zàng yú dāng dì dà jiào táng。
tā de fù qīn shì sī dì wén dùn de jiào qū cháng， yě shì yī wèi cáng shū pō fēng de bó xué zhī tǔ。 tā de mǔ qīn míng jiào kǎ sāng dé lā · lǐ · ào sī tīng， chū shēn yú guì zú jiā tíng。 jiǎn zhǐ yòu yī gè jiě jiě， jiào kǎ sāng dé lā， bìng yī shēng dū yǔ tā bǎo chí zhe mìqiè de lián xì。 jiǎn de tóng bāo xiōng dì cóng shì zhe bù tóng de zhí yè： yòu jǐ gè dān rèn shèng zhí， yī gè shì yínháng jiā， qí tā de zé zài jūn duì fú yì。 jìn guǎn tā de jiā tíng bù shì míng mén wàng zú， yě méi yòu fù jiá yī fāng， dàn qiáo zhì · ào sī tīng hěn zhòng shì jiào yù， shèn zhì duì nǚ 'ér yě bù lì wài。 jiǎn hé kǎ sāng dé lā shàng liǎo jǐ nián xué， zhī hòu jiù zài jiā lǐ xué xí， zhù yào shì guǎng fàn yuè dú gè zhǒng shū jí hé zī liào， bìng cóng fù xiōng men yǔ fǔ dǎo de xué shēng zhī jiān yòu qù de tǎo lùn zhōng huò yì。 tōng guò zì jǐ de nǔ lì， jiǎn shú zhī 18 shì jì de yīng guó wén xué。
jiǎn · ào sī tīng shēng qián nì míng chū bǎn liǎo sì bù xiǎo shuō：《 lǐ zhì yǔ qíng gǎn》 (1811)、《 ào màn yǔ piān jiàn }》 (1813)、《 màn sī fěi 'ěr dé zhuāng yuán》 (1814) hé《 ài mǎ》 (1815)。 lìng wài liǎng bù，《 nuò sāng gé xiū dào yuàn》 hé《 quàn dǎo》 shì tā qù shì hòu yú 1817 nián chū bǎn de。 tā de zhè xiē xiǎo shuō yǐ qí duì yīng guó shè huì hé fēng sú de fěng cì xìng miáo shù 'ér wén míng yú shì。
ào sī tīng suǒ chù de yīng guó shè huì shì yī gè jiē jí děng jí fēn míng de shè huì。 ér jiē jí de qū fēn zhù yào yuán yú jiā zú yǔ cái fù。 ào sī tīng zài tā de zuò pǐn zhōng jīng cháng pī píng yīng guó shàng céng jiē jí de zì fù hé piān jiàn。 jiǎn zhù yì qū fēn rén de nèi zài jià zhí ( gè rén pǐn dé ) hé wài zài jià zhí ( dì wèi hé cái chǎn )。 jiǎn suī rán jīng cháng fěng cì shì lì xiǎo rén， dàn yě cháo xiào chū shēn dī wēi de rén quē fá jiào yǎng hé jǔ zhǐ bù dāng。 zǒng de lái shuō， ào sī tīng shì yī gè xiàn shí zhù yì zuò jiā， tā suǒ miáo huì de yīng guó shì yī gè quē shǎo biàn huà dàn jiē jí yì shí qiáng liè de shè huì。
cóng 18 shì jì mò dào 19 shì jì chū，“ gǎn shāng xiǎo shuō” hé“ gē tè xiǎo shuō” chōng chì yīng guó wén tán， ér 'ào sī tīng de xiǎo shuō pò jiù lì xīn， yī fǎn cháng guī dì zhǎn xiàn liǎo dāng shí shàng wèi shòu dào zī běn zhù yì gōng yè gé mìng chōng jī de yīng guó xiāng cūn zhōng chǎn jiē jí de rì cháng shēng huó hé tián yuán fēng guāng。 tā de zuò pǐn wǎng wǎng tōng guò xǐ jù xìng de chǎng miàn cháo fěng rén men de yú chǔn、 zì sī、 shì lì hé máng mù zì xìn děng kě bǐ kě xiào de ruò diǎn。 ào sī dīng de xiǎo shuō chū xiàn zài 19 shì jì chū yè， yī sǎo fēng xíng yī shí de jiǎ làng màn zhù yì cháo liú， jì chéng hé fā zhǎn liǎo yīng guó 18 shì jì yōu xiù de xiàn shí zhù yì chuán tǒng， wéi 19 shì jì xiàn shí zhù yì xiǎo shuō de gāo cháo zuò liǎo zhǔn bèi。 suī rán qí zuò pǐn fǎn yìng de guǎng dù hé shēn dù yòu xiàn， dàn tā de zuò pǐn rú“ liǎng cùn yá diāo”， cóng yī gè xiǎo chuāng kǒu zhōng kuī shì dào zhěng gè shè huì xíng tài hé rén qíng shì gù， duì gǎi biàn dāng shí xiǎo shuō chuàng zuò zhōng de fēng qì qǐ liǎo hǎo de zuò yòng， zài yīng guó xiǎo shuō de fā zhǎn shǐ shàng yòu chéng shàng qǐ xià de yì yì， bèi yù wéi dì wèi“ kě yǔ suō shì bǐ yà píng qǐ píng zuò” de zuò jiā。 tā zuì xǐ 'ài de zuò jiā shì 18 shì jì gǔ diǎn zhù yì hé lǐ zhì de diǎn fàn sài miù 'ěr · yuē hàn xùn。 ào sī tīng de xiǎo shuō biǎo xiàn chū yī zhǒng qíng gǎn shàng de mó lēng liǎng kě， yǐ jí duì cōng míng cái zhì yǔ zì rán měi de zàn shǎng， zhè xiē tè diǎn shǐ qí zuò pǐn hé làng màn zhù yì zǒu dào yī qǐ。 yí hàn de shì， jiǎn · ào sī tīng de xiǎo shuō zài tā shēng qián bìng wèi shòu dào hǎo píng。 dàn shì hòu lái， yóu qí shì zài 20 shì jì， tā de xiǎo shuō yuè lái yuè shòu huān yíng。 rú jīn， jiǎn · ào sī tīng yǐ jīng jī shēn yú yīng guó zhēn zhèng wěi dà de zuò jiā zhī liè。 jiǎn · ào sī tīng shì shì jiè shàng wéi shù jí shǎo de zhù míng nǚ xìng zuò jiā zhī yī， jiè yú xīn gǔ diǎn zhù yì hé làng màn yùn dòng de shū qíng zhù yì zhī jiān de“ xiǎo fú huà jiā” hé“ jiā tíng xiǎo shuō” jiā， wén xué píng lùn jiā yǎn lǐ kān yǔ suō shì bǐ yà zài bù xiǔ xìng fāng miànxiàng tí bìng lùn de yīng guó zuò jiā。
ào màn yǔ piān jiàn [ xiǎo shuō ]- chuàng zuò bèi jǐng
《 ào màn yǔ piān jiàn》 shì jiǎn · ào sī tīng zuì zǎo wán chéng de zuò pǐn， tā zài 1796 nián kāi shǐ dòng bǐ， qǔ míng wéi《 zuì chū de yìn xiàng》， 1797 nián 8 yuè wán chéng。 tā fù qīn kàn hòu hěn gǎn dòng， tè yì ná gěi tānɡ mǎ · kǎ shì dé 'ěr， qǐng tā chū bǎn， dàn duì fāng yī kǒu huí jué， shǐ dé tā men shí fēn shī wàng。 hòu lái， tā zhòng xiě liǎo《 zuì chū de yìn xiàng》， bìng gǎi míng wéi“ ào màn yǔ piān jiàn” yú 1813 nián 1 yuè chū bǎn。
ào màn yǔ piān jiàn [ xiǎo shuō ]- nèi róng jiǎn jiè
nǚ zhùjué：： yī lì suō bái
nán zhùjué： dá xī
zhòng yào pèijué： jiǎn（ yī lì suō bái de jiě jiě）、 bīn lì（ dá xī de hǎo péng yǒu）
nèi róng tí yào
《 ào màn yǔ piān jiàn》 shì miáo xiě yī lì suō bái bèi nèi tè hé wēi lián dá xī zhè duì qīng nián nán nǚ zhī jiān de 'ài qíng gù shì， qǐ chū tā men liǎ rén zǒng shì huà bù tóu jī。 gù shì fā shēng zài 18 shì jì hòu qī， jù lí yīng guó lún dūn， xiào wài yuē 50 yīng lǐ de hè tè fú dé jùn（ wèi yú yīng guó yīng gé lán dōng nán bù）， shū zhōng shēng dòng dì miáo huì liǎo dāng shí fù nǚ shēng huó de jiān nán， tā men jīhū dōubù néng bǎ wò zì jǐ de mìng yùn。 yóu yú 18 shì jì de yīng guó shè huì shí fēn kàn zhòng shè huì dì wèi hé gè rén jǔ zhǐ fēng dù yǔ cái yì， nǚ rén mendōu jié jìn suǒ néng qù xún mì fù yòu de zhàng fū。
xiáng xì nèi róng
xiǎo xiāng shēn bān nà tè yòu wǔ gè dài zì guī zhōng de qiān jīn， bān nà tè tài tài zhěng tiān cāo xīn zhe wéi nǚ 'ér wù sè chènxīn rú yì de zhàng fū。 xīn lái de lín jū bīn gé lāi (Charles) shì gè yòu qián de dān shēn hàn， tā lì jí chéng liǎo bān nà tè tài tài zhuī liè de mù biāo。 zài yī cì wǔ huì shàng， bīn gé lāi duì bān nà tè jiā de dà nǚ 'ér jiǎn (Jane) yī jiàn zhōng qíng， bān nà tè tài tài wèicǐ xīn xǐ ruò kuáng。 cān jiā wǔ huì de hái yòu bīn gé lāi de hǎo yǒu dá xī (Darcy)。 tā yí biǎo táng táng， fēi cháng fù yòu， xǔ duō gū niàn fēn fēn xiàng tā tóu qù xiàn mù de mù guāng； dàn tā fēi cháng jiāo 'ào， rèn wéi tā mendōu bù pèi zuò tā de wǔ bàn， qí zhōng bāo kuò jiǎn de mèi mèi yī lì suō bái (Elizabeth)。 yī lì suō bái zì zūn xīn hěn qiáng， jué dìng bù qù lǐ cǎi zhè gè 'ào màn de jiā huǒ。 kě shì bù jiǔ， dá xī duì tā huó pō kě 'ài de jǔ zhǐ chǎn shēng liǎo hǎo gǎn， zài lìng yī cì wǔ huì shàng zhù dòng qǐng tā tóng wǔ， què zāo dào yī lì suō bái de jù jué， dá xī láng bèi bù kān。
bīn gé lāi de mèi mèi kǎ luó lín (Caroline) yī xīn zhuī qiú dá xī， tā fā xiàn dá xī yòu yì yú yī lì suō bái， dù huǒ zhōng shāo， jué yì cóng zhōng zǔ náo。 ér zāo dào yī lì suō bái lěng yù de dá xī yě bǐ shì bān nà tè tài tài jí qí xiǎo nǚ 'ér lì dí yà (Lydia) de cū sú。 zài mèi mèi hé hǎo yǒu dá xī de quàn shuō xià， bīn gé lāi bù cí 'ér bié， qù liǎo lún dūn， dàn jiǎn duì tā hái shì yī piàn shēn qíng。
bān nà tè méi yòu 'ér zǐ， tā de jiā chǎn jiāng yóu yuǎn qīn kē lín sī (Collins) jì chéng。 kē lín sī cū bǐ wú zhī， què shàn yú qū yán fù shì， jū rán dāng shàng mù shī。 tā xiàng yī lì suō bái qiú hūn， zāo jù jué hòu， mǎ shàng yǔ tā de nǚ yǒu xià luò tè (Charlotte) jié hūn。
fù jìn xiǎo zhèn de mín tuán lián duì lǐ yòu gè yīng jùn xiāo sǎ de qīng nián jūn guān wēi kěn (Wickham)， rén réndōu kuā tā， yī lì suō bái yě duì tā chǎn shēng liǎo hǎo gǎn。 yī tiān， tā duì yī lì suō bái shuō， tā fù qīn shì dá xī jiā de zǒng guǎn， dá xī de fù qīn céng gěi tā yī dà bǐ yí zèng， què bèi dá xī tūn méi liǎo。 yī lì suō bái tīng hòu， duì dá xī gèng jiā fǎn gǎn。
kē lín sī fū fù qǐng yī lì suō bái qù tā men jiā zuò kè， yī lì suō bái zài nà lǐ yù dào dá xī de yí mā kǎi sè lín (Catherine)， bù jiǔ， yòu jiàn dào liǎo dá xī。 tóng shí yě rèn shí liǎo wēi lián shàoxiào， cóng tā kǒu zhōng dé zhī dá xī cáng qǐ tā jiě jiě de xìn， shǐ yī lì suō bái duì dá xī de tǎo yàn dá dào dǐng fēng。 suǒ yǐ zài dá xī wú fǎ yì zhì zì jǐ duì yī lì suō bái de 'ài mù zhī qíng， xiàng tā qiú hūn de shí hòu， dàn tài dù hái shì nà me 'ào màn。 yī lì suō bái jiān jué dì xiè jué liǎo。 zhè yī dǎ jī shǐ dá xī dì yī cì rèn shí dào jiāo 'ào zì fù suǒ dài lái de 'è guǒ， tā tòng kǔ dì lí kāi liǎo tā， lín zǒu qián liú xià yī fēng cháng xìn zuò liǎo jǐ diǎn jiě shì： tā chéng rèn bīn gé lāi bù cí 'ér bié shì tā cù shǐ de， yuán yīn shì tā bù mǎn bān nà tè tài tài de qīng fú hé bǐ sú， bìng qiě rèn wéi jiǎn bìng méi yòu zhōng qíng yú bīn gé lāi； wēi kěn shuō de què quán shì huǎng yán， shì shí shì wēi kěn zì jǐ bǎ nà bǐ yí chǎn huī huò dài jìn， hái qǐ tú gòu yǐn dá xī de mèi mèi sī bēn。 yī lì suō bái dú xìn hòu shí fēn hòu huǐ， jì duì cuò guài dá xī gǎn dào nèi jiù， yòu wéi mǔ qīn de xíng wéi xiū kuì， hái duì zì jǐ de piān jiàn shēn shēn 'ào huǐ。 tā zhú jiàn gǎi biàn liǎo duì dá xī de kàn fǎ。
dì 'èr nián xià tiān， yī lì suō bái suí jiù fù mǔ lái dào dá xī de zhuāng yuán， yǔ tā zài cì xiāng yù。 tā fā xiàn dá xī biàn liǎo， bù jǐn duì rén bīn bīn yòu lǐ， zài dāng dì hěn shòu rén men zūn jìng， ér qiě duì tā mèi mèi fēi cháng 'ài hù。 tā duì tā de piān jiàn xiāo chú liǎo。 zhèng dāng qí shí， yī lì suō bái jiē dào jiā xìn， shuō xiǎo mèi lì dí yà suí shēn fù lěi lěi dǔ zhài de wēi kěn sī bēn liǎo。 zhè zhǒng jiā chǒu shǐ yī lì suō bái fēi cháng nán kān， yǐ wéi dá xī huì gèng qiáo bù qǐ zì jǐ。 dàn shì shí chū hū tā de yì liào， dá xī dé zhī shàng shù xiāo xī yǐ hòu， zài jiù fù mǔ de bāng zhù xià， bù jǐn tì wēi kěn hái qīng dǔ zhài， hái gěi liǎo tā yī bǐ jù kuǎn， ràng tā yǔ lì dí yà wán hūn。 zì cǐ yǐ hòu， yī lì suō bái wǎng rì duì dá xī de zhǒng zhǒng piān jiàn tǒng tǒng huà wéi zhēn chéng zhī 'ài。
bīn gé lāi hé jiǎn jīng guò yī fān zhōu zhé， yán guī yú hǎo， yī duì qíng rén chén jìn zài huān lè zhī zhōng。 ér yī xīn xiǎng ràng zì jǐ de nǚ 'ér 'ān nī (Anne) jià gěi dá xī de kǎi sè lín fū rén cōng cōng gǎn lái， mánhèng dì yào yī lì suō bái bǎo zhèng bù yǔ dá xī jié hūn。 yī lì suō bái duì zhè yī wú lǐ yào qiú duàn rán jù jué。 cǐ shì chuán dào dá xī 'ěr zhōng。 tā zhī dào yī lì suō bái yǐ jīng gǎi biàn liǎo duì zì jǐ de kàn fǎ， chéng kěn dì zài cì xiàng tā qiú hūn。 dào cǐ， yī duì céng yīn 'ào màn hé piān jiàn 'ér yán gē hūn shì de yòu qíng rén zhōng chéng juàn shǔ。
ào màn yǔ piān jiàn [ xiǎo shuō ]- yǔ yán tè sè
《 ào màn yǔ piān jiàn》 shì jiǎn · ào sī dīng (JaneAusten) de dài biǎo zuò pǐn， xiě yú shí bā shì jì jiǔ shí nián dài， qí yǐng xiǎng jīng lì liǎng shì jì 'ér bù shuāi， bìng duì hòu dài zuò jiā chǎn shēng yǐng xiǎng， qí zhòng yào de yuán yīn zhī yī jiù shì xiǎo shuō de yǔ yán mèi lì。 zài yǔ yán zhōng duì huà shì wén xué zuò pǐn sù zào rén wù xíng xiàng zuì jī běn de shǒu duàn zhī yī， jiǎn . ào sī dīng bǐ xià de rén wù duì huà xiān míng shēng dòng， pō jù gè xìng， hán yì fēng fù， nài rén xún wèi。 běn wén yòng huì huà hé zuò yuán zé fēn xī《 ào màn yǔ piān jiàn》 shū zhōng de rén wù duì huà fēng gé， jiě kāi jiǎn · ào sī dīng zuò pǐn zhōng rén wù duì huà yǔ yán fēng gé jī zhì yōu mò miào qù héng shēng zhī mí。 ào sī dīng de yǔ yán shì jīng guò chuí liàn de， tā zài duì huà yì shù shàng jiǎng jiū yōu mò、 huī xié fēng qù、 fěng cì， zhè zhǒng yì shù chuàng xīn shǐ tā de zuò pǐn jù yòu zì jǐ de tè sè， ér zhè zhǒng fù yòu tè sè de yǔ yán zài《 ào màn yǔ piān jiàn》 zhōng fā huī dé yóu wéi lín lí jìn zhì。
bǐ rú zài xiě bān nà tè tài tài shí， zuò zhě jiù zhè yàng xiě dào：“ zhǐ yào pèng dào bù chēng xīn de shì， tā jiù zì yǐ wéi shén jīng shuāi ruò。” yòu zài bān nà tè tài tài yǔ qí zhàng fū de duì huà zhōng xiě dào：“ wǒ de hǎo lǎo yé， nǐ zěn me shè dé zhè yàng zāo tà zì jǐ de qīn shēng nǚ 'ér？ nǐ shì zài gù yì jiào wǒ qì nǎo， hǎo ràng nǐ zì jǐ dé yì bā。 nǐ bàn diǎn yě bù tǐ liàng wǒ de shén jīng shuāi ruò。”“ nǐ zhēn cuò guài liǎo wǒ， wǒ de hǎo tài tài。 wǒ fēi cháng zūn zhòng nǐ de shén jīng。 tā men shì wǒ de lǎo péng yǒu。 zhì shǎo zài zuì jìn 'èr shí nián yǐ lái， wǒ yī zhí tīng dào nǐ zhèng zhòng qí shì dì tí dào tā men。” huó líng huó xiàn de yǔ yán， jué miào de cháo fěng yǔ huī xié， lì kè shǐ liǎng gè bù tóng de rén wù xíng xiàng zài dú zhě nǎo hǎi zhōng biàn dé lì tǐ 'ér qīng xī。
zài rú lìng yī gè piàn duàn de miáo xiě： kā tái lín fū rén de mǎ chē lù guò mén kǒu， kē lín sī mù shī quán jiā shǒu máng jiǎo luàn chū qù yíng jiē， yī lì suō bái què shuō：“ jiù shì zhè me huí shì má？ wǒ hái yǐ wèishì zhū luó chuǎng jìn liǎo huā yuán ní。” zhí shuài de wā kǔ， chuō chuān liǎo kā tái lín fū rén zì jǐ chuī qǐ lái de hǔ rén jià shì， yě shǐ yī lì suō bái zhè gè miè shì quán guì de xíng xiàng zài rén men nǎo hǎi zhōng liú xià liǎo gēngshēn de yìn xiàng， yuè fā jué dé tā de kě 'ài。 ào sī tīng hái shàn yú tōng guò zuì pǔ tōng de yǔ yán ràng rén wù zì jǐ bào lù zì jǐ。 lì rú xiǎo shuō kāi tóu shí， bān nà tè tài tài céng shuō láng gé tài tài“ shì gè zì sī zì lì、 jiǎ rén jiǎ yì de nǚ rén， wǒ qiáo bù qǐ tā。” ér dào gù shì de jié wěi， dāng qí dà nǚ 'ér yǔ bīn gé lāi de hūn shì yǐ chéng dìng jú shí， tā yòu shuō“ wǒ jué dé láng gé tài tài zhè gè rén zhēn shì tài hǎo liǎo。” zhè liǎng duàn jié rán xiāng fǎn de huà， ràng dú zhě bù jìn yǎ rán shī xiào de tóng shí， yòu duō me shēng dòng dì biǎo xiàn chū bān nà tè tài tài de fǎn fù wú cháng、 zì wǒ zhōng xīn。 zhè yàng de lì zǐ zài shū zhōng hái yòu hěn duō。 yī gè céng chōng mǎn piān jiàn de yī lì suō bái、 yī gè céng hún shēn 'ào màn de dá xī、 yī duì yòu qù de bān nà tè fū fù、 yī gè kě xiào de kē lín sī、 zhòng duō chū chángrén wù、 zài jiā shàng xǐ jù xiào guǒ hé tè shū xiě zuò jì qiǎo， zhè jiù shì《 ào màn yǔ piān jiàn》， què bù shì tā de quán bù。 ào sī tīng de yōu mò shì xū yào fǎn fù jǔjué de。
ào màn yǔ piān jiàn [ xiǎo shuō ]- píng jià
1、 ào sī dīng zài zhè bù xiǎo shuō zhōng tōng guò bān nà tè wǔ gè nǚ 'ér duì dài zhōng shēn dà shì de bù tóng chǔlǐ， biǎo xiàn chū xiāng zhèn zhōng chǎn jiē jí jiā tíng chū shēn de shàonǚ duì hūn yīn 'ài qíng wèn tí de bù tóng tài dù， cóng 'ér fǎn yìng liǎo zuò zhě běn rén de hūn yīn guān： wèile cái chǎn、 jīn qián hé dì wèi 'ér jié hūn shì cuò wù de； ér jié hūn bù kǎo lǜ shàng shù yīn sù yě shì yú chǔn de。 yīn cǐ， tā jì fǎn duì wéi jīn qián 'ér jié hūn， yě fǎn duì bǎ hūn yīn dāng 'ér xì。 tā qiáng diào lǐ xiǎng hūn yīn de zhòng yào xìng， bìng bǎ nán nǚ shuāng fāng gǎn qíng zuò wéi dì jié lǐ xiǎng hūn yīn de jī shí。 shū zhōng de nǚ zhù rén gōng yī lì suō bái chū shēn yú xiǎo dì zhù jiā tíng， wéi fù háo zǐ dì dá xī suǒ rè 'ài。 dá xī bù gù mén dì hé cái fù de chā jù， xiàng tā qiú hūn， què zāo dào jù jué。 yī lì suō bái duì tā de wù huì hé piān jiàn shì yī gè yuán yīn， dàn zhù yào de shì tā tǎo yàn tā de 'ào màn。 yīn wéi dá xī de zhè zhǒng 'ào màn shí jì shàng shì dì wèi chā yì de fǎn yìng， zhǐ yào cún zài zhè zhǒng 'ào màn， tā yǔ yī lì suō bái zhī jiān jiù bù kě néng yòu gòng tóng de sī xiǎng gǎn qíng， yě bù kě néng yòu lǐ xiǎng de hūn yīn。 yǐ hòu yī lì suō bái qīn yǎn guān chá liǎo dá xī de wéi rén chǔshì hé yī xì liè suǒ zuò suǒ wéi， tè bié shì kàn dào tā gǎi biàn liǎo guò qù nà zhǒng jiāo 'ào zì fù de shén tài， xiāo chú liǎo duì tā de wù huì hé piān jiàn， cóng 'ér yǔ tā dì jié liǎo měi mǎn yīn yuán。 yī lì suō bái duì dá xī xiān hòu jǐ cì qiú hūn de bù tóng tài dù， shí jì shàng fǎn yìng liǎo nǚ xìng duì rén gé dú lì hé píng děng quán lì de zhuī qiú。 zhè shì yī lì suō bái zhè yī rén wù xíng xiàng de jìn bù yì yì。 zài《 ào màn yǔ piān jiàn》 zhōng， ào sī dīng hái xiě liǎo yī lì suō bái de jǐ gè jiě mèi hé nǚ yǒu de hūn shì， zhè xiē dōushì péi chèn， yòng lái yǔ nǚ zhù rén gōng lǐ xiǎng de hūn yīn xiāng duì zhào。 rú xià luò tè hé kē lín sī jìn guǎn hūn hòu guò zhe shū shì de wù zhì shēng huó， dàn tā men zhī jiān méi yòu 'ài qíng， zhè zhǒng hūn yīn shí jì shàng shì yǎn gài zài huá lì wài yī xià de shè huì bēi jù。 hái yòu tā de jiě jiě yě shì wán měi jié jú de。 bù guò tā men suǒ jīng lì de yuǎn yuǎn méi yòu yī lì suō bái hé dá xī zhè yàng cóng tǎo yàn wù huì dào xiāng 'ài de， yī kāi shǐ jiù xiāng 'ài， yòu diǎn xiàng yī jiàn zhōng qíng de wèi dào。 cóng 'ér kàn chū， jīng lì bō zhé de 'ài qíng cái shì wán měi shēn kè de。
ào sī dīng de xiǎo shuō jìn guǎn tí cái bǐ jiào xiá zhǎi， gù shì xiāng dāng píng dàn， dàn shì tā shàn yú zài rì cháng píng fán shì wù zhōng sù zào xiān míng de rén wù xíng xiàng， bù lùn shì yī lì suō bái、 dá xī nà zhǒng zuò zhě rèn wéi zhí dé kěn dìng de rén wù， hái shì wēi kěn、 kē lín sī zhè lèi zāo dào fěng cì wā kǔ de duì xiàng， dū xiěde zhēn shí dòng rén。 tóng shí， ào sī dīng de yǔ yán shì jīng guò chuí liàn de， tā zài duì huà yì shù shàng jiǎng jiū yōu mò、 fěng cì， cháng yǐ fēng qù huī xié de yǔ yán lái hōng tuō rén wù de xìng gé tè zhēng。 zhè zhǒng yì shù chuàng xīn shǐ tā de zuò pǐn jù yòu zì jǐ de tè sè。
2、 ài qíng shì xiǎo shuō yǒng héng de zhù tí，《 ào màn yǔ piān jiàn》 yǐ 'ài qíng hé hūn yīn wéi zhù yào nèi róng， zì rán shì xī yǐn dú zhě de。 dàn miáo xiě 'ài qíng de xiǎo shuō bù jì qí shù（ yán qíng xiǎo shuō sì hū jiù hěn duō chǎn）， yào xiàng《 ào màn yǔ piān jiàn》 zhè yàng zài shì jiè wén xué zhōng zhàn yòu yī xí zhī dì， yě bìng bù shì yī jiàn róng yì de shì。《 ào màn yǔ piān jiàn》 zhī suǒ yǐ chēng dé shàng shì jiè wén xué míng zhù 'ér bù liú sú yú yī bān 'ài qíng xiǎo shuō， zì yòu tā de mèi lì suǒ zài。 nà me dào dǐ shì shénme shǐ tā tuō yíng 'ér chū ní？ yī bù hǎo de xiǎo shuō， nèi róng、 qíng jié shì fēi cháng zhòng yào de。《 ào màn yǔ piān jiàn》 de nèi róng bìng bù fù zá， qíng jié què yǐn rén rù shèng。 dú guò běn shū de dú zhě yīnggāi duì xiǎo shuō kāi piān de yī jù huà jì yì yóu xīn：“ fán shì yòu cái chǎn de dān shēn hàn， bì dìng xū yào qǔ wèi tài tài， zhè yǐ jīng chéng liǎo yī tiáo jǔ shì gōng rèn de zhēn lǐ。 (Itisatrueuniversallyacknowledged,thatasinglemaninpossessionofagoodfortunemustbeinwantofawife.)” zài yīng wén zhōng inwantof shì zhǐ kè guān xū yào， ér bù shì zhù guān xiǎng yào； zhè jiǎn jiǎn dān dān de yī jù huà què shēn shēn fǎn yìng chū zī chǎn jiē jí hūn yīn de shí zhì wú fēi shì jīn qián jiāo yì yǔ lì yì de jié hé， kě jiàn zuò zhě de mù guāng zhī tòu chè xī lì， yě zhèng yìng zhèng liǎo qián miàn suǒ shuō de xì wēi zhī chù què néng fǎn yìng dà wèn tí。 xiǎo shuō kāi piān jiù zhè yàng láo láo zhuā zhù liǎo dú zhě， jiē zhe tōng guò bān nà tè fū fù fēng qù de duì huà， bǎ dú zhě dài jìn yī gè nǚ 'ér duō dé fā chóu de zhōng chǎn jiē jí jiā tíng zhōng。 zhè gè jiā tíng jiā dào yǐ jīng zhōng luò， què hái yòu 5 gè dài jià de nǚ 'ér， ér qiě bù xìng bān nà tè xiān shēng yòu méi yòu 'ér zǐ， qí cái chǎn jiāng yóu biǎo qīn kē lín sī jì chéng。 zài zī chǎn jiē jí shè huì， rú guǒ nǚ hái méi yòu fēng hòu de jià zhuāng， jiù shì zài yòu cái mào， yě nán zhǎo dào tǐ miàn de zhàng fū， jiù xiàng shū zhōng dá xī suǒ shuō：“ tā men cháng shǐ xiǎng jià gěi yòu dì wèi de nán rén， jī huì kě jiù dà dà jiǎn shǎo liǎo。” suǒ yǐ chù zài hūn yīn yào quán héng shuāng fāng jiē jí dì wèi hé jīn qián lì hài de qíng kuàng xià， zhè wǔ wèi gū niàn de chū jià qián jǐng què shí bù tài měi miào。 xiǎo shuō cǎi yòng gǔ diǎn de xiàn shí zhù yì bǐ fǎ， miáo xiě liǎo sì duì qīng nián nán nǚ de jié hé， tōng guò bān nà tè wǔ gè nǚ 'ér duì dài zhōng shēn dà shì de bù tóng chǔlǐ， biǎo xiàn chū xiāng zhèn zhōng chǎn jiē jí jiā tíng chū shēn de shàonǚ duì hūn yīn 'ài qíng wèn tí de bù tóng tài dù， yě jiè cǐ biǎo dá liǎo zuò zhě běn rén de hūn yīn guān， jí wéi cái chǎn dǎ suàn de hūn yīn shì méi yòu xìng fú de， jié hūn bù kǎo lǜ cái chǎn shì yú chǔn de， jiǎng jiū mén dì de bāo bàn hūn yīn bù kān rěn shòu， bǎ hūn yīn dāng 'ér xì háo bù zú qǔ， lǐ xiǎng de hūn yīn yào yǐ gǎn qíng wéi jī chǔ。 shū zhōng de nǚ zhù rén gōng yī lì suō bái yǔ dá xī bù gù mén dì hé cái fù de chā jù， zhēn xīn xiāng 'ài， měi mǎn jié hé， shì zuò zhě suǒ sòng yáng de xìng fú hūn yīn。 cóng yī lì suō bái de shēn shàng， wǒ men kě yǐ kàn dào nǚ xìng duì rén gé dú lì hé píng děng quán lì de zhuī qiú； zuò zhě suī rán méi yòu fǎn yìng chū tā nà gè shí dài de jiē jí máo dùn hé jiē jí dǒu zhēng， rán 'ér tā de qiáng liè de jiē jí yì shí què biǎo xiàn liǎo chū lái， duì jīng jì、 cái chǎn jué dìng hūn yīn guān xì nǎi zhì shēng huó mìng yùn de jiē lù yě kě wèi rù mù sān fēn。 xī fāng yòu wèi mǎ kè sī zhù yì pī píng jiā dà wèi dài kè sī céng bàn kāi wán xiào de shuō， zài“ jiē lù rén lèi xíng wéi de jīng jì yuán yīn” fāng miàn， ào sī tīng“ cóng mǒu zhǒng yì yì shàng kě yǐ shuō zài mǎ kè sī yǐ qián jiù shì mǎ kè sī zhù yì zhě liǎo。”
The story follows the main character Elizabeth Bennet as she deals with issues of manners, upbringing, moral rightness, education and marriage in her aristocratic society of early 19th century England. Elizabeth is the second eldest of five daughters of a country gentleman landed in the fictional town of Meryton in Hertfordshire, not far from London.
Though the story's setting is uniquely turn of the 19th century, it retains a fascination for modern readers, continuing near the top of lists of 'most loved books' such as the Big Read. It still receives considerable attention from literary critics. This modern interest has resulted in a number of dramatic adaptations and an abundance of novels and stories imitating Austen's memorable characters or themes.
To date, the book has sold some 20 million copies worldwide.
Plot summary
The novel revolves around the Bennet family. The five marriageable daughters and mother will be without a home and income once Mr. Bennet dies: The terms on which Mr. Bennet inherited Longbourn ("fee tail male," now abolished by statute in England) prohibit women from inheriting it, with the effect that instead one of Mr. Bennet's collateral relatives will inherit the estate. The mother worries about this predicament, and wishes to find husbands for them quickly. The father doesn't seem to be worried at all, and Elizabeth, the heroine, has decided to only marry for love, even though she has no real ideas about how she will survive financially. She is of the opinion that her sister Jane, being kind and beautiful, will find a wealthy husband, and that she can then live with her. As the novel opens, Mr Bingley, a wealthy young gentleman, rents a country estate near the Bennets called Netherfield. He arrives in town accompanied by his fashionable sisters and his good friend, Mr Darcy. While Bingley is well-received in the community, Darcy begins his acquaintance with smug condescension and proud distaste for all the 'country' people. Bingley and Elizabeth Bennet's older sister Jane begin to grow close. Elizabeth's best friend Charlotte advises that Jane should be more affectionate to Bingley, as they are both shy, and he may not know that she is indeed interested in him. Elizabeth disregards her friend's opinion, saying that Jane is shy and modest, and that if Bingley can't see how she feels, he is a fool. With that, she never even tells Jane what Charlotte advised. Elizabeth is stung by Darcy's haughty rejection of her at a local dance and decides to match his coldness with her own wit.
At the same time Elizabeth begins a friendship with Mr Wickham, a militia officer who relates a prior acquaintance with Darcy. Wickham tells her that he has been seriously mistreated by Darcy. Elizabeth immediately seizes upon this information as another reason to hate Darcy. Ironically, but unbeknownst to her, Darcy finds himself gradually drawn to Elizabeth.
Just as Bingley appears to be on the point of proposing marriage to Jane Bennet, he quits Netherfield, leaving Jane confused and upset. Elizabeth is convinced that Bingley's sister has conspired with Darcy to separate Jane and Bingley.
Before Bingley leaves, Mr Collins, the male relative who is to inherit Longbourn, makes a sudden appearance and stays with the Bennets. He is a recently ordained clergyman employed by the wealthy and patronizing Lady Catherine de Bourgh. Though he was partially entreated to visit by his patroness, Collins has another reason for visiting: he wishes to find a wife from among the Bennet sisters. Mr Bennet and Elizabeth are amused by his self-important and pedantic behaviour. He immediately enters pursuit of Jane; however, when Mrs Bennet mentions her preoccupation with Mr Bingley, he turns to Elizabeth. He soon proposes marriage to Elizabeth, who refuses him, much to her mother's distress. Collins quickly recovers and proposes to Elizabeth's close friend, Charlotte Lucas, who immediately accepts him. Once the marriage is arranged, Charlotte asks Elizabeth to come for an extended visit.
In the spring, Elizabeth joins Charlotte and her cousin at his parish in Kent. The parish is adjacent to Rosings Park, the grand manor of Mr Darcy's aunt, Lady Catherine de Bourgh, where Elizabeth is frequently invited. While calling on Lady Catherine, Mr Darcy encounters Elizabeth. She discovers from a cousin of Darcy that it was he who separated Bingley and Jane. Soon after, Darcy admits his love of Elizabeth and proposes to her. Insulted by his high-handed and insulting manner of proposing, Elizabeth refuses him. When he asks why she should refuse him, she confronts him with his sabotage of Bingley's relationship with Jane and Wickham's account of their dealings.
Deeply shaken by Elizabeth's vehemence and accusations, Darcy writes her a letter justifying his actions. The letter reveals that Wickham soon dissipated his legacy-settlement (from Darcy's father's estate), then came back to Darcy requesting permanent patronage; and that he became angry when rejected, accusing Darcy of cheating him. To exact revenge and to make off with part of the Darcy family fortune, he attempted to seduce Darcy's young sister Georgiana—to gain her hand and fortune, almost persuading her to elope with him—before he was found out and stopped. Towards Bingley and Jane, Darcy justifies his actions from having observed that Jane did not show any reciprocal interest in his friend; thus his aim in separating them was mainly to protect Bingley from heartache.
Darcy admits he was concerned about the disadvantageous connection with Elizabeth's family, especially her embarrassing mother and wild younger sisters. After reading the letter, Elizabeth begins to question both her family's behaviour and Wickham's credibility. She concludes that Wickham is not as trustworthy as his easy manners would indicate, that he had lied to her previously, and that her early impressions of Darcy might have been inaccurate. Soon after receiving the letter, Elizabeth returns home.
Elizabeth tells her father that Darcy was responsible for uniting Lydia and Wickham. This is one of the two earliest illustrations of Pride and Prejudice. The clothing styles reflect the time the illustration was engraved (the 1830s), not the time the novel was written or set.
Some months later, during a tour of Derbyshire with her aunt and uncle, Elizabeth visits Pemberley, Darcy's estate. Darcy's housekeeper, an older woman who has known Darcy since childhood, presents Elizabeth and her relatives with a flattering and benevolent impression of his character. Unexpectedly, Darcy arrives at Pemberley as they tour its grounds. He makes an effort to be gracious and welcoming to them, thus strengthening Elizabeth's newly favourable impression of him. Darcy then introduces Elizabeth to his sister Georgiana. He treats her uncle and aunt very well, and finds them of a more sound character than her other relatives, whom he previously dismissed as socially inferior.
Elizabeth and Darcy's renewed acquaintance is cut short when news arrives that Elizabeth's younger sister Lydia has run away with Wickham. Initially, the Bennets believe that Wickham and Lydia have eloped, but soon it is surmised that Wickham has no plans to marry Lydia. Lydia's antics threaten the family's reputation and the Bennet sisters with social ruin. Elizabeth and her aunt and uncle hurriedly leave Derbyshire, and Elizabeth is convinced that Darcy will avoid her from now on.
Soon, thanks to the intervention of Elizabeth's uncle, Lydia and Wickham are found and married. After the marriage, Wickham and Lydia make a visit to Longbourn. While bragging to Elizabeth, Lydia comments that Darcy was present at the wedding. Surprised, Elizabeth sends an inquiry to her aunt, from whom she discovers that Darcy was responsible for both finding the couple and arranging their marriage at great expense to himself.
Soon after, Bingley and Darcy return to the area. Bingley proposes marriage to Jane, and this news starts rumors that Darcy will propose to Elizabeth. Lady Catherine travels to Longbourn with the sole aim of confronting Elizabeth and demanding that she never accept such a proposal. Elizabeth refuses to bow to Lady Catherine's demands. When news of this obstinance reaches Darcy, it convinces him that her opinion of him has changed. When he visits, he once again proposes marriage. Elizabeth accepts, and the two become engaged.
The final chapters of the book establish the future of the characters. Elizabeth and Darcy settle at Pemberley where Mr Bennet visits often. Mrs Bennet remains frivolous and silly; she often visits the new Mrs Bingley and talks of the new Mrs Darcy. Later, Jane and Bingley move from Netherfield to avoid Jane's mother and Meryton relations and to locate near the Darcys in Derbyshire. Elizabeth and Jane manage to teach Kitty greater social grace, and Mary learns to accept the difference between herself and her sisters' beauty and mixes more with the outside world. Lydia and Wickham continue to move often, leaving their debts for Jane and Elizabeth to pay off. At Pemberley, Elizabeth and Georgiana grow close, though Georgiana is surprised by Elizabeth's playful treatment of Darcy. Lady Catherine stays very angry with her nephew's marriage but over time the relationship between the two is repaired and she eventually decides to visit them. Elizabeth and Darcy also remain close with her uncle and aunt.
Main characters
[show]Character genealogy
Mr Hurst
Mrs Hurst
Mr Philips
Caroline Bingley
Mrs Philips
Mr Charles Bingley
Mrs Gardiner
Jane Bennet
Mr Gardiner
Elizabeth Bennet
Mrs Bennet
Mary Bennet
Mr Bennet
Catherine "Kitty" Bennet
Mr William Collins
Lydia Bennet
Charlotte Lucas
Mr George Wickham
(Old) Mr Darcy
Mr Fitzwilliam Darcy
Lady Anne Darcy
Georgiana Darcy
Lady Catherine De Bourgh
Anne De Bourgh
Lord ——
Colonel Fitzwilliam
* Elizabeth Bennet is the main character and protagonist. The reader sees the unfolding plot and the other characters mostly from her viewpoint. The second of the Bennet daughters at twenty years old, she is intelligent, lively, attractive, and witty, but with a tendency to judge on first impressions and perhaps to be a little selective of the evidence upon which she bases her judgments. As the plot begins, her closest relationships are with her father, her sister Jane, her aunt Mrs Gardiner, and her best friend Charlotte Lucas.
* Mr Fitzwilliam Darcy is the main male character. Twenty-eight years old and unmarried, Darcy is the wealthy owner of the famous family estate of Pemberley in Derbyshire. Handsome, tall, and intelligent, but not convivial, his aloof decorum and moral rectitude are seen by many as an excessive pride and concern for social status. He makes a poor impression on strangers, such as the gentry of Meryton, but is valued by those who know him well.
* Mr Bennet has a wife and five daughters, and seems to have inurred himself to his fate. A bookish and intelligent gentleman somewhat withdrawn from society, he dislikes the indecorous behaviours of his wife and three younger daughters; but he offers little beyond mockery by way of correcting them. Rather than guiding these daughters to more sensible understanding, he is instead content to laugh at them. He relates very well with his two elder daughters, Jane and Elizabeth, showing them much more love and respect than his wife and younger daughters.
* Mrs Bennet is the wife of her social superior Mr Bennet, and mother of Elizabeth and her sisters. She is frivolous, excitable, and narrow-minded. She is susceptible to attacks of tremors and palpitations; her public manners and social climbing are embarrassing to Jane and Elizabeth. Her favourite daughter is the youngest, Lydia.
Lady Catherine confronts Elizabeth about Darcy, on the title page of the first illustrated edition. This is the other of the first two illustrations of the novel.
* Jane Bennet is the eldest Bennet sister. Twenty-two years old when the novel begins, she is considered the most beautiful young lady in the neighbourhood. Her character is contrasted with Elizabeth's as sweeter, shyer, and equally sensible, but not as clever; her most notable trait is a desire to see only the good in others. Jane is closest to Elizabeth, and her character is often contrasted with that of Elizabeth.
* Mary Bennet is the only plain Bennet sister, and rather than join in some of the family activities, she reads, although is often impatient for display. She works hard for knowledge and accomplishment, but has neither genius nor taste. At the ball at Netherfield, she embarrasses her family by singing badly.
* Catherine "Kitty" Bennet is the fourth Bennet sister, aged seventeen. She is portrayed as a less headstrong but equally silly shadow of Lydia.
* Lydia Bennet is the youngest Bennet sister, aged fifteen. She is repeatedly described as frivolous and headstrong. Her main activity in life is socialising, especially flirting with the military officers stationed in the nearby town of Meryton. She dominates her older sister Kitty and is supported in the family by her mother. After she elopes with Wickham and he is paid to marry her, she shows no remorse for the embarrassment that her actions caused for her family, but acts as if she has made a wonderful match of which her sisters should be jealous.
* Charles Bingley is a young gentleman without an estate. His wealth was recent, and he is seeking a permanent home. He rents the Netherfield estate near Longbourn when the novel opens. Twenty-two years old at the start of the novel, handsome, good-natured, and wealthy, he is contrasted with his friend Darcy as being less intelligent but kinder and more charming, and hence more popular in Meryton. He lacks resolve and is easily influenced by others.
* Caroline Bingley is the snobbish sister of Charles Bingley. Clearly harbouring romantic intentions on Darcy herself, she views his growing attachment to Elizabeth Bennet with some jealousy, resulting in disdain and frequent verbal attempts to undermine Elizabeth and her society.
* George Wickham is an old acquaintance of Darcy from childhood, and an officer in the militia unit stationed near Meryton. Superficially charming, he rapidly forms a friendship with Elizabeth Bennet, prompting remarks upon his suitability as a potential husband. He spreads numerous tales about the wrongs Darcy has done to him, colouring the popular perception of the other man in local society. It is eventually revealed that these tales are distortions, and that Darcy was the wronged man in their acquaintance.
* William Collins, aged twenty-five, is Mr Bennet's clergyman cousin and, as Mr Bennet has no son, heir to his estate. Austen described him as "not a sensible man, and the deficiency of nature had been but little assisted by education or society." Collins boasts of his acquaintance with — and advantageous patronage from — Lady Catherine de Bourgh. Mr Bennet, Jane, and Elizabeth consider him pompous and lacking in common sense. Elizabeth's rejection of Collins' marriage proposal is welcomed by her father, regardless of the financial benefit to the family of such a match. Elizabeth is later somewhat distressed — although understanding — when her closest friend, Charlotte Lucas, consents to marry Collins out of her need for a settled position and to avoid the low status and lack of autonomy of an old maid.
* Lady Catherine de Bourgh, who has wealth and social standing, is haughty, domineering and condescending. Mr Collins, among others, enables these characteristics by deferring to her opinions and desires. Elizabeth, however, is duly respectful but not intimidated. Darcy, whilst respectful of their shared family connection, is offended by her lack of manners, especially towards Elizabeth, and later — when pressed by her demand that he not marry Elizabeth — is quick to assert his intentions to marry whom he wishes.
* Mr Gardiner is Mrs Bennet's brother, and a businessman. He is quite sensible and gentleman-like. He tries to help Lydia when she elopes with Wickham. His wife has close relationships with Elizabeth and Jane. Jane stays with the Gardiners in London for a while, and Elizabeth travels with them to Derbyshire, where she again meets Darcy.
* Georgiana Darcy is Mr Darcy's quiet and amiable younger sister, aged sixteen when the story begins. In a letter from Mr Darcy to Elizabeth, he describes that Wickham tried to persuade her to elope with him and inherit her 30,000 pounds. Later on, Elizabeth meets her at their home at Pemberly, where she is amiable and sweet. She is very happy with her brother's choosing of Elizabeth and maintains an extremely close relationship to both of them.
Interrelationships
A comprehensive web showing the relationships between the main characters in Pride and Prejudice
Major themes
Many critics take the novel's title as a starting point when analysing the major themes of Pride and Prejudice; however, Robert Fox cautions against reading too much into the title since commercial factors may have played a role in its selection. "After the success of Sense and Sensibility, nothing would have seemed more natural than to bring out another novel of the same author using again the formula of antithesis and alliteration for the title. It should be pointed out that the qualities of the title are not exclusively assigned to one or the other of the protagonists; both Elizabeth and Darcy display pride and prejudice."
A major theme in much of Austen's work is the importance of environment and upbringing on the development of young people's character and morality. Social standing and wealth are not necessarily advantages in her world, and a further theme common to Jane Austen's work is ineffectual parents. In Pride and Prejudice, the failure of Mr and Mrs Bennet (particularly the latter) as parents is blamed for Lydia's lack of moral judgment; Darcy, on the other hand, has been taught to be principled and scrupulously honourable, but is also proud and overbearing. Kitty, rescued from Lydia's bad influence and spending more time with her older sisters after they marry, is said to improve greatly in their superior society.
Style
Pride and Prejudice, like most of Jane Austen's works, employs the narrative technique of free indirect speech. This has been defined as "the free representation of a character's speech, by which one means, not words actually spoken by a character, but the words that typify the character's thoughts, or the way the character would think or speak, if she thought or spoke". By using narrative which adopts the tone and vocabulary of a particular character (in this case, that of Elizabeth), Austen invites the reader to follow events from Elizabeth's viewpoint, sharing her prejudices and misapprehensions. "The learning curve, while undergone by both protagonists, is disclosed to us solely through Elizabeth's point of view and her free indirect speech is essential ... for it is through it that we remain caught, if not stuck, within Elizabeth's misprisions."
Publication history
Modern paperback editions of Pride and Prejudice
The novel was originally titled First Impressions by Jane Austen, and was written between October 1796 and August 1797. On 1 November 1797 Austen's father gave the draft to London bookseller Thomas Cadell in hopes of it being published, but it was rejected. The unpublished manuscript was returned to Austen and it stayed with her.
Austen made significant revisions to the manuscript for First Impressions between 1811 and 1812. She later renamed the story Pride and Prejudice. In renaming the novel, Austen probably had in mind the "sufferings and oppositions" summarized in the final chapter of Fanny Burney's Cecilia, called "Pride and Prejudice", where the phrase appears three times in block capitals. It is possible that the novel's original title was altered to avoid confusion with other works. In the years between the completion of First Impressions and its revision into Pride and Prejudice, two other works had been published under that name: a novel by Margaret Holford and a comedy by Horace Smith.
Austen sold the copyright for the novel to Thomas Egerton of Whitehall in exchange for £110 (Austen had asked for £150). This proved a costly decision. Austen had published Sense and Sensibility on a commission basis, whereby she indemnified the publisher against any losses and received any profits, less costs and the publisher's commission. Unaware that Sense and Sensibility would sell out its edition, making her £140, she passed the copyright to Egerton for a one-off payment, meaning that all the risk (and all the profits) would be his. Jan Fergus has calculated that Egerton subsequently made around £450 from just the first two editions of the book.
Egerton published the first edition of Pride and Prejudice in three hardcover volumes in January 1813, priced at 18s. Favourable reviews saw this edition sold out, with a second edition published in November that year. A third edition was published in 1817.
Foreign language translations first appeared in 1813 in French; subsequent translations were published in German, Danish and Swedish. Pride and Prejudice was first published in the United States in August 1832 as Elizabeth Bennet or, Pride and Prejudice. The novel was also included in Richard Bentley's Standard Novel series in 1833. R. W. Chapman's scholarly edition of Pride and Prejudice, first published in 1923, has become the standard edition from which many modern publications of the novel are based.
Reception
The novel was well received, with three favourable reviews in the first months following publication. Jan Fergus calls it "her most popular novel, both with the public and with her family and friends", and quotes David Gilson's A Bibliography of Jane Austen (Clarendon, 1982), where it is stated that Pride and Prejudice was referred to as "the fashionable novel" by Anne Isabella Milbanke, later to be the wife of Lord Byron. However, others did not agree. Charlotte Brontë wrote to noted critic and reviewer George Henry Lewes after reading a review of his published in Fraser's Magazine in 1847. He had praised Jane Austen's work and declared that he, "... would rather have written Pride and Prejudice, or Tom Jones, than any of the Waverley Novels". Miss Brontë, though, found Pride and Prejudice a disappointment, "... a carefully fenced, highly cultivated garden, with neat borders and delicate flowers; but ... no open country, no fresh air, no blue hill, no bonny beck."
Modern popularity
* In 2003 the BBC conducted the largest ever poll for the "UK's Best-Loved Book" in which Pride and Prejudice came second, behind The Lord of the Rings.
* In a 2008 survey of more than 15,000 Australian readers, Pride and Prejudice came first in a list of the 101 best books ever written.
Adaptations
Film, television, and theatre
Pride and Prejudice has engendered numerous adaptations. Some of the notable film versions include that of 1940 starring Greer Garson and Laurence Olivier, that of 2003 starring Kam Heskin and Orlando Seale (which placed the characters of Pride and Prejudice in a Mormon university, and was directed by Andrew Black and that of 2005 starring Keira Knightley (in an Oscar-nominated performance) and Matthew Macfadyen. Notable television versions include two by the BBC: the 1995 version starring Jennifer Ehle and Colin Firth, and a 1980 version starring Elizabeth Garvie and David Rintoul. A 1936 stage version was created by Helen Jerome played at the St. James's Theatre in London, starring Celia Johnson and Hugh Williams. First Impressions was a 1959 Broadway musical version starring Polly Bergen, Farley Granger, and Hermione Gingold. In 1995, a musical concept album was written by Bernard J. Taylor, with Peter Karrie in the role of Mr Darcy and Claire Moore in the role of Elizabeth Bennet. A new stage production, Jane Austen's Pride and Prejudice, The New Musical, was presented in concert on 21 October 2008 in Rochester, New York with Colin Donnell as Darcy. The popular film Bridget Jones's Diary is a contemporary retelling, starring Renee Zellweger as a modern day Elizabeth, and Colin Firth, once again, as Mr Darcy.
Bride and Prejudice, starring Aishwarya Rai, is a Bollywood adaptation of the novel, while Pride & Prejudice: A Latter-Day Comedy (2003) places the novel in contemporary times. The off-Broadway musical I Love You Because reverses the gender of the main roles, set in modern day New York City. The Japanese comic Hana Yori Dango by Yoko Kamio, in which the wealthy, arrogant and proud protagonist, Doumyouji Tsukasa, falls in love with a poor, lower-class girl named Makino Tsukushi, is loosely based on Pride and Prejudice. A 2008 Israeli television six-part miniseries set the story in the Galilee with Mr Darcy a well-paid worker in the high-tech industry.
Pride and Prejudice has also crossed into the science fiction and horror genres. In the 1997 episode of science fiction comedy Red Dwarf entitled "Beyond a Joke", the crew of the space ship relax in a virtual reality rendition of "Pride and Prejudice Land" in "Jane Austen World". The central premise of the television miniseries Lost in Austen is a modern woman suddenly swapping lives with that of Elizabeth Bennet. In February 2009, it was announced that Elton John's Rocket Pictures production company was making a film, Pride and Predator, based on the story, but with the added twist of an alien landing in Longbourne.
Literature
The novel has inspired a number of other works that are not direct adaptations. Books inspired by Pride and Prejudice include: Mr. Darcy's Daughters and The Exploits and Adventures of Miss Alethea Darcy by Elizabeth Aston; Pemberley: Or Pride and Prejudice Continued and An Unequal Marriage: Or Pride and Prejudice Twenty Years Later by Emma Tennant; The Book of Ruth (ASIN B00262ZRBM) by Helen Baker; Jane Austen Ruined My Life and Mr. Darcy Broke My Heart by Beth Pattillo; Precipitation - A Continuation of Miss Jane Austen's Pride and Prejudice by Helen Baker; Searching for Pemberley by Mary Simonsen and Mr. Darcy Takes a Wife and its sequel Darcy & Elizabeth: Nights and Days at Pemberly by Linda Berdoll. In Gwyn Cready's comedic romance novel, Seducing Mr. Darcy, the heroine lands in Pride and Prejudice by way of magic massage, has a fling with Darcy and unknowingly changes the rest of the story. Bridget Jones's Diary by Helen Fielding, which started as a newspaper column before becoming a novel and a film, was inspired by the then-current BBC adaptation; both works share a Mr. Darcy of serious disposition (both played by Colin Firth), a foolish match-making mother, and a detached affectionate father, as well as the protagonist overhearing Mr. Darcy speaking about her disparagingly, followed by the caddish character gaining the protagonist's affections by telling lies about Mr. Darcy. The self-referential in-jokes continue with the sequel, Bridget Jones: The Edge of Reason.
In March 2009, Quirk Books released Pride and Prejudice and Zombies, which takes Austen's actual, original work, and laces it with zombie hordes, cannibalism, ninjas, and ultra-violent mayhem. Scheduled for publication in March 2010, Quirk Books has announced that it will produce a prequel which deals with Elizabeth Bennett's early days as a zombie hunter, entitled Pride and Prejudice and Zombies: Dawn of the Dreadfuls.
Yet another angle was introduced by Monica Fairview, who wrote about Miss Caroline Bingley in The Other Mr Darcy, published in October 2009. Pride and Prejudice has also inspired many scholarly articles and books including: So Odd a Mixture: Along the Autism Spectrum in 'Pride and Prejudice' by Phyllis Ferguson Bottomer, Forewords by Eileen Sutherland and Tony Attwood.
Marvel has also published their take on this classic, releasing a short comic series of five issues that stays true to the original storyline. The first issue was published on 1 April 2009 and was written by Nancy Hajeski.
Author Amanda Grange wrote Mr. Darcy's Diary in 2007 that tells the original story of Pride and Prejudice from the view of Mr Darcy. In 2009, she wrote Mr. Darcy, Vampyre which reimagines Darcy as a vampire after he has married Elizabeth. Following the same premise is Regina Jeffers' "Vampire Darcy's Desire", which retells Pride and Prejudice on the basis that Darcy is a dhampir (part-human, part-vampire) joined by his lover Elizabeth to fight the evil vampire George Wickham.
jiǎn · ào sī tīng（ Jane Austen） yú 1818 nián ( zuò zhě qù shì hòu dì 'èr nián） chū bǎn de xiǎo shuō， bìng shǔ shàng liǎo zhēn míng。
《 quàn dǎo》 shì zuò zhě zuì hòu yī bù wán zhěng de xiǎo shuō， bǐ yǐ qián de zuò pǐn xiěde gèng yòu sī xiǎng hé gǎn qíng shēn dù， bèi xǔ duō píng lùn jiā shì wéi 'ào sī dīng zuì hǎo de zuò pǐn。 shū zhōng zuò zhě yǐ yōu mò hé fěng cì de bǐ diào duì zhōng chǎn jiē jí de xū wěi hé shì lì jìn xíng liǎo biān tà。 rú guǒ shuō 'ào sī tīng zài《 lǐ zhì yǔ qíng gǎn》 zhōng qiáng tiáolǐ zhì yīnggāi zhàn shèng qíng gǎn， rèn wéi zhǐ yòu zài zhè zhǒng qíng kuàng xià rén men cái néng huò dé xìng fú， nà me， zài tā zhè zuì hòu yī bù xiǎo shuō zhōng， ào sī dīng què yòng jiào cháng de piān fú miáo shù liǎo“ jǐn shèn” gěi nǚ zhù rén gōng dài lái de duō nián de tòng kǔ。《 quàn dǎo》 kěn dìng rén wù xìng gé cóng jǐn shèn dào làng màn de yǎn biàn， wú yí fǎn yìng liǎo zuò zhě běn rén chuàng zuò sī xiǎng de biàn huà。 zhè yě shì duì dāng shí chuán tǒng guān niàn de yī zhǒng tiǎo zhàn。 běn shū jié gòu yán jǐn、 bǐ fǎ xì nì， xiǎo shuō zhōng yòu xǔ duō xì jié miáo xiě， zhà kàn píng dàn wú qí， kě shì xì xì tǐ huì， què gǎn dào yú wèi wú qióng。 rén men cháng bǎ 'ào sī dīng de xiǎo shuō bǐ zuò“ èr cùn yá diāo”， jīng guò cǐ bān jīng diāo xì zhuó de《 quàn dǎo》， wán quán dāng dé qǐ zhè yī měi chēng。
quàn dǎo -《 quàn dǎo》
miáo xiě liǎo yī gè qū zhé duō mó de 'ài qíng gù shì。 guì zú xiǎo jiě 'ān nī · āi lì 'ào tè tóng qīng nián jūn guān wēn tè wò sī qīng xīn xiāng 'ài , dìng xià liǎo hūn yuē。 kě shì , tā de fù qīn wò 'ěr tè jué shì hé jiào mǔ lā sài 'ěr fū rén xián wēn tè wò sī chū shēn bēi jiàn , méi yòu cái chǎn , jí lì fǎn duì zhè mén hūn shì。 ān nī chū yú“ jǐn shèn” , jiē shòu liǎo jiào mǔ de quàn dǎo , rěn tòng tóng xīn shàng rén jiě chú liǎo hūn yuē。 bā nián hòu , zài zhàn zhēng zhōng shēng liǎo guān、 fā liǎo cái de wēn tè wò sī shàng xiào xiū yì huí xiāng , suí jiě jiě、 jiě fū dāng shàng liǎo wò 'ěr tè jué shì de fáng kè。 tā suī shuō duì 'ān nī yuàn fèn wèi xiāo , dàn liǎng rén bù wàng jiù qíng , zhōng yú lì jìn qū zhé , pái chú gān rǎo , jié chéng liáng yuán。
Persuasion is connected with Northanger Abbey not only by the fact that the two books were originally bound up in one volume and published together two years later, but also because both stories are set partly in Bath, a fashionable health resort with which Jane Austen was well acquainted, having lived there from 1801 to 1805.
Plot introduction
More than seven years prior to the events in the novel, Anne Elliot falls in love with a handsome young naval officer named Frederick Wentworth, who is intelligent and ambitious, but poor. Sir Walter, Anne's father and lord of the family estate of Kellynch, and her older sister Elizabeth are dissatisfied with her choice, maintaining that he is not distinguished enough for their family. Her older friend and mentor, Lady Russell, acting in place of Anne's deceased mother, persuades her to break off the match.
Now, aged 27 and still unmarried, Anne re-encounters her former fiancé when his sister and brother-in-law, the Crofts, take out a lease on Kellynch. Wentworth, now a captain, is wealthy from wartime victories in the Royal Navy and from prize-money for capturing enemy ships. However, he has not forgiven Anne for her rejection of him.
The self-interested machinations of Anne's father, her older sister Elizabeth, Elizabeth's friend Mrs. Clay, and William Elliot (Anne's cousin and her father's heir) constitute important subplots.
Title as variation on a theme
Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2010)
Readers of "Persuasion" might well infer Jane Austen intended 'persuasion' as the working theme of the story, and that she applied the novel's title to reflect this conceit. Certainly that theme is repeated several times, with vignettes within the story as variations on that theme. But there is no known source for Austen pronouncing her own title for this work. (Some critics believe Austen intended to name the novel "The Elliots", but that, in fact, she died without titling it.)
On the other hand, the literary scholar Gillian Beer documents that Jane Austen had profound concerns about the levels and applications of 'persuasion' employed among individuals of her society, especially as it influenced the choices and moral suasion made upon the young women of her day. Beer reports that, for Austen and her readers, persuasion was indeed "fraught with moral dangers"; she notes particularly that Austen personally was appalled by the misdirection of her own intentions in advising a beloved niece (Fanny Knight) on the very question of accepting a particular suitor entailing with a long engagement. Beer writes:
Jane Austen's anxieties about persuasion and responsibility are here passionately expressed. She refuses to become part of the machinery with which Fanny is manoeuvering herself into forming the engagement. To be the stand-in motive for another's actions frightens her. Yet Jane Austen cannot avoid the part of persuader, even as dissuader.
Thus, Beer explains, Austen was keenly aware that, still, the human quality of persuasion—to persuade or to be persuaded, rightly or wrongly—is fundamental to the process of human communication; and that, in her novel "...Jane Austen gradually draws out the implications of discriminating 'just' and 'unjust' persuasion". Indeed, the narrative plays through a number of variations of people swaying, or attempting to sway, other people—or themselves. Finally, Beer describes Austen's work as: "...the novel's entire brooding on the power pressures, the seductions, and also the new pathways opened by persuasion".
Plot summary
Anne Elliot is the overlooked middle daughter of the vain Sir Walter Elliot, a baronet who is all too conscious of his good looks and rank and spends excessive amounts of money. Anne's mother, a fine, sensible woman, is long dead, and her elder sister, Elizabeth, resembles her father in temperament and delights in the fact that as the eldest daughter she can assume her mother's former position in their rural neighborhood. Anne's younger sister, Mary, is a nervous, clinging woman who has made an unspectacular marriage to Charles Musgrove of Uppercross Hall, the heir to a bucolic but respected local squire. None of her surviving family can provide much companionship for the elegant-minded Anne, who, still unmarried at 27, seems destined for spinsterhood.
After she met and fell in love with Wentworth, at age nineteen, Anne had been persuaded by her mother's great friend —and her own trusted confidante, the widow Lady Russell— to break the engagement. Lady Russell had questioned the wisdom of Anne marrying a penniless young naval officer without family or connections and whose prospects were so uncertain. Wentworth is left bitter at Lady Russell's interference and Anne's own want of fortitude.
Wentworth re-enters Anne's life when Sir Walter is forced by his own profligacy to let the family estate to none other than Wentworth's brother-in-law, Admiral Croft. Wentworth's successes in the Napoleonic Wars resulted in his promotion and enabled him to amass the then considerable fortune of £25,000 (around £2.5 million in today's money) from prize money awarded for capturing enemy vessels. The Musgroves, including Mary, Charles and Charles's younger sisters, Henrietta and Louisa, are delighted to welcome the Crofts and Wentworth to the neighborhood. Both Musgrove girls are attracted to Wentworth, though Henrietta is informally engaged to clergyman cousin Charles Hayter. Hayter is viewed as a merely respectable match, being a bit beneath the Musgroves, socially and financially. Charles, Mary, and the Crofts continually speculate as to which one Wentworth might marry. All this is hard on Anne, due to her regret at breaking off the engagement and Wentworth's constant attention to the Musgrove girls. She tries to escape their company as often as she can, preferring to spend time with her nephews.
Captain Wentworth's visit to a close friend, Captain Harville, in nearby Lyme Regis results in a day-long outing being organized by those eager to see the resort. While there, Louisa Musgrove sustains a concussion in a fall brought about by her own impetuous behaviour. This highlights the difference between the headstrong Louisa and the more sensible Anne. While onlookers exclaim that Louisa is dead and her companions stand around dumbfounded, Anne administers first aid and summons assistance. Wentworth's admiration for Anne reawakens as a result.
Louisa's recovery is slow and her self-confidence is severely shaken. Her newfound timidity elicits the kind attention and reassurance of Wentworth's friend Captain Benwick, who had been mourning the recent death of his fiancée. The couple find their personalities to be now more in sympathy and they become engaged.
Meanwhile, Sir Walter, Elizabeth, and Elizabeth's scheming friend Mrs. Clay, the widowed daughter of Sir Walter's agent, have relocated to Bath. There they hope to live in a manner befitting a baronet and his family with the least possible expense until their finances are restored to a firmer footing. Sir Walter's cousin and heir, William Elliot, who long ago slighted the baronet, now seeks a reconciliation. Elizabeth assumes that he wishes to court her, while Lady Russell more correctly suspects that he admires Anne.
Although William Elliot seems a perfect gentleman, Anne distrusts him; she finds his character disturbingly opaque. She is enlightened by an unexpected source when she discovers an old school friend, Mrs. Smith, living in Bath in straitened circumstances. Mrs. Smith and her now-deceased husband had once been Mr. Elliot's closest friends. Having encouraged them into financial extravagance, he had quickly dropped them when they became impoverished. Anne learns, to her great distress, of his layers of deceit and calculated self-interest. In addition, her friend speculates that Mr. Elliot wants to reestablish his relationship with her family primarily to safeguard his inheritance of the title, fearing a marriage between Sir Walter and Mrs. Clay. This helps Anne to understand more fully the dangers of persuasion—in that Lady Russell pressed her to accept Mr. Elliot's likely offer of marriage—and helps her to develop more confidence in her own judgment.
Ultimately, the Musgroves visit Bath to purchase wedding clothes for their daughters Louisa and Henrietta (who has become engaged to Hayter). Captain Wentworth and his friend Captain Harville accompany them. Anne and Harville discuss the relative faithfulness of men and women in love, while Wentworth writes a note within earshot of the discussion. This causes him to write a note to Anne detailing his feelings for her. In a tender scene, Anne and Wentworth reconcile and renew their engagement. The match is now more palatable to Anne's family — their waning fortunes and Wentworth's waxing ones have made a considerable difference. Also, ever overvaluing good looks, Sir Walter is favorably impressed with his future son-in-law's appearance. Lady Russell admits she has been completely wrong about Captain Wentworth, and she and Anne remain friends.
Main characters
Sir Walter Elliot, Bt. — A vain, sycophantic self-satisfied baronet, Sir Walter's extravagance since the death of his prudent wife 13 years before has put his family in financial straits. These are severe enough to force him to lease his estate, Kellynch Hall, to Admiral Croft and take a more economical residence in Bath.
Elizabeth Elliot — The eldest and most beautiful daughter of Sir Walter, who encourages her father's imprudent spending and extravagance. She and her father routinely put their interests ahead of Anne's, regarding her as inconsequential.
Anne Elliot —
The second daughter of Sir Walter is 27 years old and unmarried. She is very intelligent and was very pretty but lost her bloom after breaking off her engagement with Wentworth. Now nearly eight years ago, she fell in love with Captain Wentworth but was persuaded by her mentor Lady Russell to reject his proposal because of his poverty and uncertain future.
Mary Musgrove — The youngest daughter of Sir Walter, married to Charles Musgrove. She is attention-seeking, always looking for ways she might have been slighted or not given her full due, and often claims illness when she is upset. She greatly opposes sister-in-law Henrietta's interest in marrying Charles Hayter, who Mary feels is beneath them.
Charles Musgrove — Husband of Mary and heir to the Musgrove estate. He had wanted to marry Anne and settled for Mary (much to the disappointment of the Musgrove family, and to his misfortune) when Anne refused him due to her continued love for Wentworth.
Lady Russell — A friend of the Elliots, particularly Anne, of whom she is the godmother. She is instrumental in Sir Walter's decision to leave Kellynch hall and avoid financial crisis. Years ago, she persuaded Anne to turn down Captain Wentworth's proposal of marriage. While far more sensible than Sir Walter Elliot, she shares his concern for rank and connections, and did not think Wentworth good enough for Anne because of his inferior birth and financial status.
Mrs. Clay — A poor widow, daughter of Sir Walter's lawyer, and intimate 'friend' of Elizabeth Elliot. She aims to flatter Sir Walter into marriage, while her oblivious friend looks on.
Captain Frederick Wentworth — A naval officer who was briefly engaged to Anne some years ago. At the time, he had no fortune and uncertain prospects, but owing to much success in the Napoleonic Wars, his situation has greatly improved. One of two brothers of Sophia Croft.
Admiral Croft — Good-natured, plainspoken tenant at Kellynch Hall and brother-in-law of Captain Wentworth.
Sophia Croft — Sister of Captain Wentworth and wife of Admiral Croft. She offers Anne an example of a strong-minded woman who has married for love instead of money.
Louisa Musgrove — Second sister of Charles Musgrove, aged about 19. Louisa is a high-spirited young lady who has recently returned with her sister from school. Captain Wentworth admires her for her resolve and determination, especially in contrast to Anne's prudence and what he sees as Anne's lack of conviction. She is ultimately engaged to Captain Benwick.
Henrietta Musgrove — Eldest sister of Charles Musgrove, aged about 20. Henrietta is informally engaged to her cousin Charles Hayter, but is nevertheless tempted by the more dashing Captain Wentworth.
Captain Harville — A friend of Captain Wentworth. Severely wounded two years ago and discharged at half-pay, he and his family have settled in nearby Lyme.
Captain James Benwick — A friend of Captain Harville. Benwick had been engaged to marry Captain Harville's sister Fanny, but she died while Benwick was at sea. Benwick's loss has left him melancholic and a lover of poetry. His enjoyment of reading makes him one of the few characters in the story to find an intellectual connection with Anne, and it is implied that he might have an interest in Anne. But Benwick ultimately becomes engaged to Louisa Musgrove.
Mr. William Elliot — A relation and the heir presumptive of Sir Walter, who became estranged from the family when he wed a woman of much lower social rank, for her fortune. Sir Walter and Elizabeth had hoped William would marry Elizabeth Elliot. He is now a widower. Now wanting very much to inherit the title, he mends the rupture in order to keep an eye on the ambitious Mrs. Clay. If Sir Walter married her, William's inheritance would be endangered. When he meets Anne by accident, his interest is piqued; if he could marry Anne his title and inheritance is likely secured. Rumors circulate that Anne and he are engaged.
Mrs. Smith — a friend of Anne Elliot who lives in Bath. She is a widow and has suffered ill health and financial difficulties. She keeps abreast of the doings of Bath society through news she gets from her nurse, Nurse Rooke, who also works for a friend of William Elliot's. Her financial problems could have been straightened out with some assistance from William Elliot, her husband's former friend, but Elliot would not exert himself, leaving her much impoverished. Later Wentworth acts on her behalf.
Lady Dalrymple — a viscountess, cousin to Sir Walter. She occupies an exalted position in society by virtue of wealth and rank. Sir Walter and Elizabeth are eager to be seen at Bath in the company of this great relation.
Literary significance & criticism
Persuasion is widely appreciated as a moving love story despite what has been labelled as a simple plot, and exemplifies Austen's acclaimed wit and ironic narrative style.[citation needed] Austen wrote Persuasion in a hurry, during the onset of the illness from which she eventually died; as a result, the novel is both shorter and arguably less polished than Mansfield Park and Emma, and was not subject to the usual pattern of careful retrospective revision.
Although the impact of Austen's failing health at the time of writing this novel cannot be overlooked, the novel is strikingly original in several ways. Persuasion is the first of Austen's novels to feature as the central character a woman who, by the standards of the time, is well past the first bloom of youth; biographer Claire Tomalin characterizes the book as Austen's "present to herself, to Miss Sharp, to Cassandra, to Martha Lloyd . . . to all women who had lost their chance in life and would never enjoy a second spring."
The novel has been described as a great "Cinderella" story (intoduction to the Penguin Classics edition). All the similarities between the fairy story and Austen's novel are there; a heroine who is generally unappreciated by those around her; a handsome prince who arrives but seems more interested in the "more obvious" charms of the Musgrove girls than the more steady charms offered by Anne; a moment of realisation and the final happy ending when those who did not appreaciate have time to realise what they have lost. It has been said that it is not that Anne is unloved, more that those around her no longer see her, she is such a fixed part of life that her likes and dislikes, wishes and dreams are no longer considered, even by those who claim to appreciate her, like Lady Russell.
At the same time, the novel is a paean to the self-made man. Captain Wentworth is just one of several naval officers in the story who have risen from humble beginnings to affluence and status on the strength of merit and luck, not by inheritance. It marks a time where the very roots of society were changing, as 'old money' (exemplified by Sir Walter) had to accommodate the rising strength of the nouveau riche (such as Wentworth). The success of Austen's own two brothers in the Royal Navy is probably significant. There are also clear parallels with the earlier novel Mansfield Park as there are inherent and sustained messages of the importance of constancy in the face of adversity and of the need to endure.
Austen makes some biting comments about 'family' and those we choose to associate with. Mary wants to nurse Louisa but doesn't want to nurse her son. Elizabeth prefers Mrs Clay to her sister who is 'amongst the nobility of England and Ireland', yet courts the attentions of Lady Dalrymple.
Through her heroine's words, Austen makes pointed remarks about the condition of women as 'rational creatures' at the mercy of males (only) recording history, writing books, etc., while castigating women's "inconstancy" and "fickleness". "Men have had every advantage of us in telling their own story. ...the pen has been in their hands. I will not allow books to prove anything" (Persuasion Volume 2 Chapter 11).
She ends the novel with the similar theme to Pride and Prejudice, where the heroine leaves the others behind with marriage.
《 quàn dǎo》 shì zuò zhě zuì hòu yī bù wán zhěng de xiǎo shuō， bǐ yǐ qián de zuò pǐn xiěde gèng yòu sī xiǎng hé gǎn qíng shēn dù， bèi xǔ duō píng lùn jiā shì wéi 'ào sī dīng zuì hǎo de zuò pǐn。 shū zhōng zuò zhě yǐ yōu mò hé fěng cì de bǐ diào duì zhōng chǎn jiē jí de xū wěi hé shì lì jìn xíng liǎo biān tà。 rú guǒ shuō 'ào sī tīng zài《 lǐ zhì yǔ qíng gǎn》 zhōng qiáng tiáolǐ zhì yīnggāi zhàn shèng qíng gǎn， rèn wéi zhǐ yòu zài zhè zhǒng qíng kuàng xià rén men cái néng huò dé xìng fú， nà me， zài tā zhè zuì hòu yī bù xiǎo shuō zhōng， ào sī dīng què yòng jiào cháng de piān fú miáo shù liǎo“ jǐn shèn” gěi nǚ zhù rén gōng dài lái de duō nián de tòng kǔ。《 quàn dǎo》 kěn dìng rén wù xìng gé cóng jǐn shèn dào làng màn de yǎn biàn， wú yí fǎn yìng liǎo zuò zhě běn rén chuàng zuò sī xiǎng de biàn huà。 zhè yě shì duì dāng shí chuán tǒng guān niàn de yī zhǒng tiǎo zhàn。 běn shū jié gòu yán jǐn、 bǐ fǎ xì nì， xiǎo shuō zhōng yòu xǔ duō xì jié miáo xiě， zhà kàn píng dàn wú qí， kě shì xì xì tǐ huì， què gǎn dào yú wèi wú qióng。 rén men cháng bǎ 'ào sī dīng de xiǎo shuō bǐ zuò“ èr cùn yá diāo”， jīng guò cǐ bān jīng diāo xì zhuó de《 quàn dǎo》， wán quán dāng dé qǐ zhè yī měi chēng。
quàn dǎo -《 quàn dǎo》
miáo xiě liǎo yī gè qū zhé duō mó de 'ài qíng gù shì。 guì zú xiǎo jiě 'ān nī · āi lì 'ào tè tóng qīng nián jūn guān wēn tè wò sī qīng xīn xiāng 'ài , dìng xià liǎo hūn yuē。 kě shì , tā de fù qīn wò 'ěr tè jué shì hé jiào mǔ lā sài 'ěr fū rén xián wēn tè wò sī chū shēn bēi jiàn , méi yòu cái chǎn , jí lì fǎn duì zhè mén hūn shì。 ān nī chū yú“ jǐn shèn” , jiē shòu liǎo jiào mǔ de quàn dǎo , rěn tòng tóng xīn shàng rén jiě chú liǎo hūn yuē。 bā nián hòu , zài zhàn zhēng zhōng shēng liǎo guān、 fā liǎo cái de wēn tè wò sī shàng xiào xiū yì huí xiāng , suí jiě jiě、 jiě fū dāng shàng liǎo wò 'ěr tè jué shì de fáng kè。 tā suī shuō duì 'ān nī yuàn fèn wèi xiāo , dàn liǎng rén bù wàng jiù qíng , zhōng yú lì jìn qū zhé , pái chú gān rǎo , jié chéng liáng yuán。
Persuasion is connected with Northanger Abbey not only by the fact that the two books were originally bound up in one volume and published together two years later, but also because both stories are set partly in Bath, a fashionable health resort with which Jane Austen was well acquainted, having lived there from 1801 to 1805.
Plot introduction
More than seven years prior to the events in the novel, Anne Elliot falls in love with a handsome young naval officer named Frederick Wentworth, who is intelligent and ambitious, but poor. Sir Walter, Anne's father and lord of the family estate of Kellynch, and her older sister Elizabeth are dissatisfied with her choice, maintaining that he is not distinguished enough for their family. Her older friend and mentor, Lady Russell, acting in place of Anne's deceased mother, persuades her to break off the match.
Now, aged 27 and still unmarried, Anne re-encounters her former fiancé when his sister and brother-in-law, the Crofts, take out a lease on Kellynch. Wentworth, now a captain, is wealthy from wartime victories in the Royal Navy and from prize-money for capturing enemy ships. However, he has not forgiven Anne for her rejection of him.
The self-interested machinations of Anne's father, her older sister Elizabeth, Elizabeth's friend Mrs. Clay, and William Elliot (Anne's cousin and her father's heir) constitute important subplots.
Title as variation on a theme
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Readers of "Persuasion" might well infer Jane Austen intended 'persuasion' as the working theme of the story, and that she applied the novel's title to reflect this conceit. Certainly that theme is repeated several times, with vignettes within the story as variations on that theme. But there is no known source for Austen pronouncing her own title for this work. (Some critics believe Austen intended to name the novel "The Elliots", but that, in fact, she died without titling it.)
On the other hand, the literary scholar Gillian Beer documents that Jane Austen had profound concerns about the levels and applications of 'persuasion' employed among individuals of her society, especially as it influenced the choices and moral suasion made upon the young women of her day. Beer reports that, for Austen and her readers, persuasion was indeed "fraught with moral dangers"; she notes particularly that Austen personally was appalled by the misdirection of her own intentions in advising a beloved niece (Fanny Knight) on the very question of accepting a particular suitor entailing with a long engagement. Beer writes:
Jane Austen's anxieties about persuasion and responsibility are here passionately expressed. She refuses to become part of the machinery with which Fanny is manoeuvering herself into forming the engagement. To be the stand-in motive for another's actions frightens her. Yet Jane Austen cannot avoid the part of persuader, even as dissuader.
Thus, Beer explains, Austen was keenly aware that, still, the human quality of persuasion—to persuade or to be persuaded, rightly or wrongly—is fundamental to the process of human communication; and that, in her novel "...Jane Austen gradually draws out the implications of discriminating 'just' and 'unjust' persuasion". Indeed, the narrative plays through a number of variations of people swaying, or attempting to sway, other people—or themselves. Finally, Beer describes Austen's work as: "...the novel's entire brooding on the power pressures, the seductions, and also the new pathways opened by persuasion".
Plot summary
Anne Elliot is the overlooked middle daughter of the vain Sir Walter Elliot, a baronet who is all too conscious of his good looks and rank and spends excessive amounts of money. Anne's mother, a fine, sensible woman, is long dead, and her elder sister, Elizabeth, resembles her father in temperament and delights in the fact that as the eldest daughter she can assume her mother's former position in their rural neighborhood. Anne's younger sister, Mary, is a nervous, clinging woman who has made an unspectacular marriage to Charles Musgrove of Uppercross Hall, the heir to a bucolic but respected local squire. None of her surviving family can provide much companionship for the elegant-minded Anne, who, still unmarried at 27, seems destined for spinsterhood.
After she met and fell in love with Wentworth, at age nineteen, Anne had been persuaded by her mother's great friend —and her own trusted confidante, the widow Lady Russell— to break the engagement. Lady Russell had questioned the wisdom of Anne marrying a penniless young naval officer without family or connections and whose prospects were so uncertain. Wentworth is left bitter at Lady Russell's interference and Anne's own want of fortitude.
Wentworth re-enters Anne's life when Sir Walter is forced by his own profligacy to let the family estate to none other than Wentworth's brother-in-law, Admiral Croft. Wentworth's successes in the Napoleonic Wars resulted in his promotion and enabled him to amass the then considerable fortune of £25,000 (around £2.5 million in today's money) from prize money awarded for capturing enemy vessels. The Musgroves, including Mary, Charles and Charles's younger sisters, Henrietta and Louisa, are delighted to welcome the Crofts and Wentworth to the neighborhood. Both Musgrove girls are attracted to Wentworth, though Henrietta is informally engaged to clergyman cousin Charles Hayter. Hayter is viewed as a merely respectable match, being a bit beneath the Musgroves, socially and financially. Charles, Mary, and the Crofts continually speculate as to which one Wentworth might marry. All this is hard on Anne, due to her regret at breaking off the engagement and Wentworth's constant attention to the Musgrove girls. She tries to escape their company as often as she can, preferring to spend time with her nephews.
Captain Wentworth's visit to a close friend, Captain Harville, in nearby Lyme Regis results in a day-long outing being organized by those eager to see the resort. While there, Louisa Musgrove sustains a concussion in a fall brought about by her own impetuous behaviour. This highlights the difference between the headstrong Louisa and the more sensible Anne. While onlookers exclaim that Louisa is dead and her companions stand around dumbfounded, Anne administers first aid and summons assistance. Wentworth's admiration for Anne reawakens as a result.
Louisa's recovery is slow and her self-confidence is severely shaken. Her newfound timidity elicits the kind attention and reassurance of Wentworth's friend Captain Benwick, who had been mourning the recent death of his fiancée. The couple find their personalities to be now more in sympathy and they become engaged.
Meanwhile, Sir Walter, Elizabeth, and Elizabeth's scheming friend Mrs. Clay, the widowed daughter of Sir Walter's agent, have relocated to Bath. There they hope to live in a manner befitting a baronet and his family with the least possible expense until their finances are restored to a firmer footing. Sir Walter's cousin and heir, William Elliot, who long ago slighted the baronet, now seeks a reconciliation. Elizabeth assumes that he wishes to court her, while Lady Russell more correctly suspects that he admires Anne.
Although William Elliot seems a perfect gentleman, Anne distrusts him; she finds his character disturbingly opaque. She is enlightened by an unexpected source when she discovers an old school friend, Mrs. Smith, living in Bath in straitened circumstances. Mrs. Smith and her now-deceased husband had once been Mr. Elliot's closest friends. Having encouraged them into financial extravagance, he had quickly dropped them when they became impoverished. Anne learns, to her great distress, of his layers of deceit and calculated self-interest. In addition, her friend speculates that Mr. Elliot wants to reestablish his relationship with her family primarily to safeguard his inheritance of the title, fearing a marriage between Sir Walter and Mrs. Clay. This helps Anne to understand more fully the dangers of persuasion—in that Lady Russell pressed her to accept Mr. Elliot's likely offer of marriage—and helps her to develop more confidence in her own judgment.
Ultimately, the Musgroves visit Bath to purchase wedding clothes for their daughters Louisa and Henrietta (who has become engaged to Hayter). Captain Wentworth and his friend Captain Harville accompany them. Anne and Harville discuss the relative faithfulness of men and women in love, while Wentworth writes a note within earshot of the discussion. This causes him to write a note to Anne detailing his feelings for her. In a tender scene, Anne and Wentworth reconcile and renew their engagement. The match is now more palatable to Anne's family — their waning fortunes and Wentworth's waxing ones have made a considerable difference. Also, ever overvaluing good looks, Sir Walter is favorably impressed with his future son-in-law's appearance. Lady Russell admits she has been completely wrong about Captain Wentworth, and she and Anne remain friends.
Main characters
Sir Walter Elliot, Bt. — A vain, sycophantic self-satisfied baronet, Sir Walter's extravagance since the death of his prudent wife 13 years before has put his family in financial straits. These are severe enough to force him to lease his estate, Kellynch Hall, to Admiral Croft and take a more economical residence in Bath.
Elizabeth Elliot — The eldest and most beautiful daughter of Sir Walter, who encourages her father's imprudent spending and extravagance. She and her father routinely put their interests ahead of Anne's, regarding her as inconsequential.
Anne Elliot —
The second daughter of Sir Walter is 27 years old and unmarried. She is very intelligent and was very pretty but lost her bloom after breaking off her engagement with Wentworth. Now nearly eight years ago, she fell in love with Captain Wentworth but was persuaded by her mentor Lady Russell to reject his proposal because of his poverty and uncertain future.
Mary Musgrove — The youngest daughter of Sir Walter, married to Charles Musgrove. She is attention-seeking, always looking for ways she might have been slighted or not given her full due, and often claims illness when she is upset. She greatly opposes sister-in-law Henrietta's interest in marrying Charles Hayter, who Mary feels is beneath them.
Charles Musgrove — Husband of Mary and heir to the Musgrove estate. He had wanted to marry Anne and settled for Mary (much to the disappointment of the Musgrove family, and to his misfortune) when Anne refused him due to her continued love for Wentworth.
Lady Russell — A friend of the Elliots, particularly Anne, of whom she is the godmother. She is instrumental in Sir Walter's decision to leave Kellynch hall and avoid financial crisis. Years ago, she persuaded Anne to turn down Captain Wentworth's proposal of marriage. While far more sensible than Sir Walter Elliot, she shares his concern for rank and connections, and did not think Wentworth good enough for Anne because of his inferior birth and financial status.
Mrs. Clay — A poor widow, daughter of Sir Walter's lawyer, and intimate 'friend' of Elizabeth Elliot. She aims to flatter Sir Walter into marriage, while her oblivious friend looks on.
Captain Frederick Wentworth — A naval officer who was briefly engaged to Anne some years ago. At the time, he had no fortune and uncertain prospects, but owing to much success in the Napoleonic Wars, his situation has greatly improved. One of two brothers of Sophia Croft.
Admiral Croft — Good-natured, plainspoken tenant at Kellynch Hall and brother-in-law of Captain Wentworth.
Sophia Croft — Sister of Captain Wentworth and wife of Admiral Croft. She offers Anne an example of a strong-minded woman who has married for love instead of money.
Louisa Musgrove — Second sister of Charles Musgrove, aged about 19. Louisa is a high-spirited young lady who has recently returned with her sister from school. Captain Wentworth admires her for her resolve and determination, especially in contrast to Anne's prudence and what he sees as Anne's lack of conviction. She is ultimately engaged to Captain Benwick.
Henrietta Musgrove — Eldest sister of Charles Musgrove, aged about 20. Henrietta is informally engaged to her cousin Charles Hayter, but is nevertheless tempted by the more dashing Captain Wentworth.
Captain Harville — A friend of Captain Wentworth. Severely wounded two years ago and discharged at half-pay, he and his family have settled in nearby Lyme.
Captain James Benwick — A friend of Captain Harville. Benwick had been engaged to marry Captain Harville's sister Fanny, but she died while Benwick was at sea. Benwick's loss has left him melancholic and a lover of poetry. His enjoyment of reading makes him one of the few characters in the story to find an intellectual connection with Anne, and it is implied that he might have an interest in Anne. But Benwick ultimately becomes engaged to Louisa Musgrove.
Mr. William Elliot — A relation and the heir presumptive of Sir Walter, who became estranged from the family when he wed a woman of much lower social rank, for her fortune. Sir Walter and Elizabeth had hoped William would marry Elizabeth Elliot. He is now a widower. Now wanting very much to inherit the title, he mends the rupture in order to keep an eye on the ambitious Mrs. Clay. If Sir Walter married her, William's inheritance would be endangered. When he meets Anne by accident, his interest is piqued; if he could marry Anne his title and inheritance is likely secured. Rumors circulate that Anne and he are engaged.
Mrs. Smith — a friend of Anne Elliot who lives in Bath. She is a widow and has suffered ill health and financial difficulties. She keeps abreast of the doings of Bath society through news she gets from her nurse, Nurse Rooke, who also works for a friend of William Elliot's. Her financial problems could have been straightened out with some assistance from William Elliot, her husband's former friend, but Elliot would not exert himself, leaving her much impoverished. Later Wentworth acts on her behalf.
Lady Dalrymple — a viscountess, cousin to Sir Walter. She occupies an exalted position in society by virtue of wealth and rank. Sir Walter and Elizabeth are eager to be seen at Bath in the company of this great relation.
Literary significance & criticism
Persuasion is widely appreciated as a moving love story despite what has been labelled as a simple plot, and exemplifies Austen's acclaimed wit and ironic narrative style.[citation needed] Austen wrote Persuasion in a hurry, during the onset of the illness from which she eventually died; as a result, the novel is both shorter and arguably less polished than Mansfield Park and Emma, and was not subject to the usual pattern of careful retrospective revision.
Although the impact of Austen's failing health at the time of writing this novel cannot be overlooked, the novel is strikingly original in several ways. Persuasion is the first of Austen's novels to feature as the central character a woman who, by the standards of the time, is well past the first bloom of youth; biographer Claire Tomalin characterizes the book as Austen's "present to herself, to Miss Sharp, to Cassandra, to Martha Lloyd . . . to all women who had lost their chance in life and would never enjoy a second spring."
The novel has been described as a great "Cinderella" story (intoduction to the Penguin Classics edition). All the similarities between the fairy story and Austen's novel are there; a heroine who is generally unappreciated by those around her; a handsome prince who arrives but seems more interested in the "more obvious" charms of the Musgrove girls than the more steady charms offered by Anne; a moment of realisation and the final happy ending when those who did not appreaciate have time to realise what they have lost. It has been said that it is not that Anne is unloved, more that those around her no longer see her, she is such a fixed part of life that her likes and dislikes, wishes and dreams are no longer considered, even by those who claim to appreciate her, like Lady Russell.
At the same time, the novel is a paean to the self-made man. Captain Wentworth is just one of several naval officers in the story who have risen from humble beginnings to affluence and status on the strength of merit and luck, not by inheritance. It marks a time where the very roots of society were changing, as 'old money' (exemplified by Sir Walter) had to accommodate the rising strength of the nouveau riche (such as Wentworth). The success of Austen's own two brothers in the Royal Navy is probably significant. There are also clear parallels with the earlier novel Mansfield Park as there are inherent and sustained messages of the importance of constancy in the face of adversity and of the need to endure.
Austen makes some biting comments about 'family' and those we choose to associate with. Mary wants to nurse Louisa but doesn't want to nurse her son. Elizabeth prefers Mrs Clay to her sister who is 'amongst the nobility of England and Ireland', yet courts the attentions of Lady Dalrymple.
Through her heroine's words, Austen makes pointed remarks about the condition of women as 'rational creatures' at the mercy of males (only) recording history, writing books, etc., while castigating women's "inconstancy" and "fickleness". "Men have had every advantage of us in telling their own story. ...the pen has been in their hands. I will not allow books to prove anything" (Persuasion Volume 2 Chapter 11).
She ends the novel with the similar theme to Pride and Prejudice, where the heroine leaves the others behind with marriage.
《 màn sī fěi dé zhuāng yuán》 de zhù rén， jiù shì lí hūn nǚ lā。 wéi xì liǎo 20 nián de měi hǎo hūn yīn， ér nǚ dū cháng dà chéng rén liǎo， cái yīn wéi lǎo gōng de yàn juàn， huā xīn 'ér yī bǐ gòu xiāo liǎo。 fēn shǒu de zhuàng kuàng， tā dū yù dào liǎo， xīn tòng yù jué， jī bēi chéng fèn， shì rán fàng kāi， kāi shǐ xīn wǒ。 dàn shì zhè shí hòu， lǎo gōng yòu huí lái zhǎo tā liǎo， shuō tā cuò liǎo， hái shì huái niàn yǐ wǎng de rì zǐ， duì yú zhè gè xiāng chù 20 nián， dàn shì yīzhāo jiù jiāng nǐ hé 20 nián jiā tíng pāo qì de rén， nǐ huì yuán liàng má？？
Plot summary
The main character, Fanny Price, is a young girl from a relatively poor family, raised by her rich uncle and aunt, Sir Thomas and Lady Bertram, at Mansfield Park. She grows up with her four cousins, Tom Bertram, Edmund Bertram, Maria Bertram and Julia, but is always treated as inferior to them; only Edmund shows his real kindness. He is also the most virtuous of the siblings: Maria and Julia are vain and spoiled, while Tom is an irresponsible gambler. Over time, Fanny's gratitude for Edmund's kindness secretly grows into romantic love.
When the children have grown up, the stern patriarch Sir Thomas leaves for a year so he can deal with problems on his plantation in Antigua. The fashionable and worldly Henry Crawford and his sister Mary Crawford arrive in the village, and stay with their sister, the Parson's wife. The arrival of the Crawfords disrupts the staid world of Mansfield and sparks a series of romantic entanglements. Mary and Edmund begin to form an attachment, though Edmund often worries that her manners are fashionable and her conversation often cynical, masking a lack of firm principle. However, she is engaging, beautiful and charming, and goes out of her way to befriend Fanny. Fanny fears that Mary has enchanted Edmund, and love has blinded him to her flaws. Henry plays with the affections of both Maria and Julia, despite Maria being already engaged to the dull, but very rich, Mr. Rushworth. Maria believes that Henry is really in love with her, and treats Mr Rushworth coldly, invoking his jealousy. Fanny is so little observed in the family circle and her presence is often overlooked and she frequently witnesses Maria and Henry in compromising situations.
Encouraged by Tom and his friend Mr. Yates, the young people decide to put on Elizabeth Inchbald's play Lovers' Vows; Edmund and Fanny both initially oppose the plan, believing Sir Thomas would disapprove and feeling that the subject matter of the play is not appropriate. Edmund is eventually swayed, offering to play the part of Anhalt, the lover of the character played by Mary Crawford. As well as giving Mary and Edmund a vehicle to talk about love and marriage, the play provides a pretext for Henry and Maria to flirt in public. Sir Thomas arrives unexpectedly in the middle of a rehearsal, which ends the plan. Henry leaves, and Maria is crushed; realising that Henry does not love her, she marries Mr. Rushworth and they leave for Brighton, taking Julia with them. Meanwhile, Fanny's improved looks and pleasant temper endear her to Sir Thomas, who pays more attention to her care.
Henry returns to Mansfield Park and decides to amuse himself by making Fanny fall in love with him. However, her genuine gentleness and kindness cause him to fall in love with her instead. When he proposes marriage, Fanny's disgust at his improper flirtations with her cousins, as well as her love for Edmund, cause her to reject him. The Bertrams are dismayed, since it is an extremely advantageous match for a poor girl like Fanny. Sir Thomas rebukes her for ingratitude. Henry decides he will continue to pursue Fanny, hoping that in time she will change her mind by coming to believe he is constant. Sir Thomas supports a plan for Fanny to pay a visit to her relatively poor family in Portsmouth, hoping that as Fanny suffers from the lack of comforts there, she will realize the usefulness of a good income. Henry pays Fanny a visit in Portsmouth, to convince her that he has changed and is worthy of her affection. Fanny's attitude begins to soften but she still maintains that she will not marry him.
Henry leaves for London, and shortly afterward, Fanny learns of a scandal involving Henry and Maria. The two had met again and rekindled their flirtation, which quickly had developed into an affair. The affair is discovered and hinted at in a national newspaper; Maria leaves her husband's house and elopes with Henry. The scandal is terrible and the affair results in Maria's divorce; however Henry refuses to marry her. To make matters worse, the dissolute Tom has taken ill, and Julia has eloped with Mr. Yates. Fanny returns to Mansfield Park to comfort her aunt and uncle and to help take care of Tom.
Although Edmund knows that marriage to Mary is now impossible because of the scandal between their relations, he goes to see her one last time. During the interview, it becomes clear that Mary does not condemn Henry and Maria's adultery, only that they got caught. Her main concern is covering it up and she implies that if Fanny had accepted Henry, he would have been too busy and happy to have an affair, and would have been content with merely a flirtation. This reveals Mary's true nature to Edmund, who realises he had idealised her as someone she is not. He tells her so and returns to Mansfield and his living as a Parson at Thornton Lacey. "At exactly the time it should be so, and not a week sooner." Edmund realises how important Fanny is to him, declares his love for her and they are married. Tom recovers from his illness, a steadier and better man for it, and Julia's elopement turns out to be not such a desperate business after all. Austen points out that if only Crawford had persisted in being steadfast to Fanny, and not succumbed to the affair with Maria, Fanny eventually would have accepted his marriage proposal—especially after Edmund had married Mary.
Characters in "Mansfield Park"
Fanny Price
The second eldest of nine children who is sent to live with her mother's sisters at Mansfield Park. Her mother married a poor lieutenant of marines for love. Mrs Price's alcoholic husband was disabled and released from the service on half pay, and she had to settle for a life far less comfortable than those of her sisters. Fanny is sensitive, shy, intelligent, seemingly virtuous, with a good sense of morals; and her status at Mansfield Park as a dependent poor relation only intensifies these traits. The bulk of the novel takes place when she is eighteen and nineteen. She has been in love with her cousin Edmund since she was young and when both realise their feelings, they get married. Fanny is pursued by Mr. Henry Crawford.
Lady Bertram
Sister of Fanny Price's mother who is married to the wealthy Sir Thomas Bertram. She is perpetually vague and distracted. Born "Miss Maria Ward, of Huntingdon, with only seven thousand pounds [...]." .
Mrs Norris
The officious, skinflint sister of Lady Bertram who lives near Mansfield Park. Her husband, Mr. Norris, was the parson at Mansfield Park until his death. She dislikes Fanny and takes every opportunity to put her down and make a distinction between Fanny's treatment and that of her wealthier cousins. Mrs. Norris also takes every opportunity to save money, such as taking candles from the main house for her maid's rooms.
Sir Thomas Bertram
The husband of Fanny's aunt, Lady Bertram. He owns the Mansfield Park estate and an estate in Antigua. He is initially stern and correct. He later realises his behaviour may have caused the ruin of his eldest daughter. He wishes his own children were more like his niece and nephew, Fanny and William Price.
Tom Bertram
The older son of Sir Thomas and Lady Bertram; he is seven years older than Fanny. Tom is principally interested in carousing in London society and enjoying the pleasures of the theatre with his friend, Mr. Yates. Tom incurs large debts, forcing Sir Thomas to sell the church position that would have gone to Tom's younger brother, Edmund. One celebratory journey leaves Tom with a fever and he later learns the error of his ways.
Edmund Bertram
The younger son of Sir Thomas and Lady Bertram; he is six years older than Fanny. He plans to be a clergyman. He alone among his family has any consideration for Fanny's feelings. As her protector and friend, he has a great deal of influence over her and helps form her character. Edmund becomes attracted to Miss Crawford, but her opinions on the scandal involving Mrs. Rushworth and Mr. Crawford mortify him. He later realizes he is in love with Fanny and they are married.
Maria Bertram
The very beautiful elder daughter of Sir Thomas and Lady Bertram; she is three years older than Fanny. She becomes engaged to Mr. Rushworth but she becomes attached to Henry Crawford. She expects Mr. Crawford to propose and when he doesn't, she marries Mr. Rushworth for his £12,000 a year, despite knowing him to be a boorish young man with little but his money to recommend him. Mr. Crawford returns to her life soon after marrying and she runs away with him. Rushworth divorces her and she is left to the mercy of her family because Mr. Crawford refuses to marry her. She ends up living with her aunt Norris.
Julia Bertram
The younger daughter of Sir Thomas and Lady Bertram; she is two years older than Fanny. She has strong feelings toward Mr. Crawford, but soon learns that he prefers Maria, despite, or because of, her sister's engagement. Mr. Yates pursues her, which is swiftly ended when Sir Thomas returns to the house. Julia later goes with Mr. and Mrs. Rushworth on their honeymoon and to their house in town. About the same time Maria runs away with Mr Crawford, Julia elopes with Mr. Yates, ostensibly to avoid being blamed by her father for Maria's elopement with Mr. Crawford .
Dr. Grant
The current parson at the Mansfield Park parsonage, he is a large man who greatly enjoys food and drink.
Mrs. Grant
The wife of Mr. Grant, and half-sister of Henry and Mary Crawford.
Mr. Henry Crawford
Brother of Mrs. Grant and Miss Crawford. A charming, extremely intelligent and eligible bachelor who plays with the emotions of Maria and Julia. This is observed by Fanny. After Maria's marriage, he decides to make Fanny fall in love with him but instead falls in love with her. He loses any chance with her after he and Maria run away together.
Miss Mary Crawford
The pretty and charming sister of Mr. Crawford and Mrs Grant, who takes a keen interest in Edmund Bertram in spite of his being a second son. However, though she seems charming, she has certain views and opinions which mean, in the end, she loses Edmund.
Mr. Rushworth
A wealthy but boring man who becomes engaged to Maria Bertram. He divorces her after she runs away with Henry Crawford.
The Hon. John Yates
A good friend of Tom Bertram. Tom and Yates carouse in London society and bring their love of the theatre to Mansfield Park. Yates expresses interest in Julia Bertram. He elopes with Julia around the time Mr. Crawford and Maria run away together.
William Price
Fanny's brother, a naval midshipman, with whom she is very close. Mr. Crawford seeks to ingratiate himself with Fanny by helping William in his profession. He is polite and kind and Fanny's only correspondent in her family until she visits them.
Mr. Price
Fanny's father, an officer in the Marines who lives in Portsmouth. Mr. Price drinks too much and is foul-mouthed, and seems to have little to no affection for his daughters.
Mrs. Price
Fanny's mother, sister of Mrs. Norris and Lady Bertram. She resembles Lady Bertram in her weak character and laziness, but under the pressure of a large family and a low income she has become slatternly and thoughtless. Like her husband, she seems to care little for Fanny.
Susan Price
Fanny's younger sister with whom Fanny first becomes close on a visit home. She returns with Fanny to Mansfield Park and takes Fanny's place helping her aunt when Fanny marries Edmund. Her character is better than many of her siblings.
Lady Stornoway
a society woman, who is complicit in Mr Crawford and Maria's flirtation. They meet at her parties and eventually run away together from her home.
Mrs. Rushworth
Mr. Rushworth's mother and Maria's mother-in-law. Mr. Rushworth is on his way to fetch her at Easter when Mr. Crawford and Maria increase their flirtation and eventually run away together. Mrs. Rushworth is noted to not be particularly fond of her daughter-in-law.
Literary significance & criticism
Mansfield Park is the most controversial and perhaps the least popular of Austen's major novels. Regency critics praised the novel's wholesome morality, but many modern readers find Fanny's timidity and disapproval of the theatricals difficult to sympathise with and reject the idea (made explicit in the final chapter) that she is a better person for the relative privations of her childhood. Jane Austen's own mother thought Fanny "insipid", and many other readers have found her priggish and unlikeable. Other critics point out that she is a complex personality, perceptive yet given to wishful thinking, and that she shows courage and grows in self-esteem during the latter part of the story. Austen biographer Claire Tomalin, who is generally rather critical of Fanny, argues that "it is in rejecting obedience in favour of the higher dictate of remaining true to her own conscience that Fanny rises to her moment of heroism." But Tomalin reflects the ambivalence that many readers feel towards Fanny when she also writes: "More is made of Fanny Price's faith, which gives her the courage to resist what she thinks is wrong; it also makes her intolerant of sinners, whom she is ready to cast aside."
The story contains much social satire, targeted particularly at the two aunts. It is perhaps the most socially realistic Austen novel, with Fanny's family of origin, the Prices, coming from a much lower echelon of society than most Austen characters.
Controversy over slavery
At one point, Edward Said implicated the novel in western culture's casual acceptance of the material benefits of slavery and imperialism, citing Austen's omission to mention that the estate of Mansfield Park was made possible only through slave labour. At another point, however, he seems to have acknowledged that Jane Austen disapproved of slavery:
* "All the evidence says that even the most routine aspects of holding slaves on a West Indian sugar plantation were cruel stuff. And everything we know about Jane Austen and her values is at odds with the cruelty of slavery. Fanny Price reminds her cousin that after asking Sir Thomas about the slave trade, “there was such a dead silence” as to suggest that one world could not be connected with the other since there simply is no common language for both. That is true."
Critics such as Gabrielle White, have criticised Said's condemnation of Jane Austen and western culture, maintaining that Austen and other writers, including Samuel Johnson and Edmund Burke, opposed slavery and helped make its eventual abolition possible. Claire Tomalin, following literary critic Brian Southam, claims that Fanny, usually so timid, questions her uncle about the slave trade and receives no answer, suggesting that her vision of the trade's immorality is clearer than his. However, Ellen Moody has challenged Southam's interpretation, arguing that Fanny's uncle would not have been "pleased" (as the text suggests) to be questioned on the subject if Southam's reading of the scene were correct.
Film, TV or theatrical adaptations
Mansfield Park has been the subject of a number of adaptations:
* 1983: Mansfield Park, BBC series directed by David Giles, starring Sylvestra Le Touzel as Fanny Price, Nicholas Farrell as Edmund Bertram and Anna Massey as Mrs Norris.
* 1999: Mansfield Park, film directed by Patricia Rozema, starring Frances O'Connor as Fanny Price and Jonny Lee Miller as Edmund Bertram (interestingly, he also featured in the 1983 version, playing one of Fanny's brothers). This film alters several major elements of the story and depicts Fanny as author of some of Austen's actual letters as well as her children's history of England. It emphasizes Austen's disapproval of slavery.
* 2007: Mansfield Park, a television adaptation produced by Company Pictures and starring Billie Piper, was screened on ITV1 in the UK on 18 March 2007.
Plot summary
The main character, Fanny Price, is a young girl from a relatively poor family, raised by her rich uncle and aunt, Sir Thomas and Lady Bertram, at Mansfield Park. She grows up with her four cousins, Tom Bertram, Edmund Bertram, Maria Bertram and Julia, but is always treated as inferior to them; only Edmund shows his real kindness. He is also the most virtuous of the siblings: Maria and Julia are vain and spoiled, while Tom is an irresponsible gambler. Over time, Fanny's gratitude for Edmund's kindness secretly grows into romantic love.
When the children have grown up, the stern patriarch Sir Thomas leaves for a year so he can deal with problems on his plantation in Antigua. The fashionable and worldly Henry Crawford and his sister Mary Crawford arrive in the village, and stay with their sister, the Parson's wife. The arrival of the Crawfords disrupts the staid world of Mansfield and sparks a series of romantic entanglements. Mary and Edmund begin to form an attachment, though Edmund often worries that her manners are fashionable and her conversation often cynical, masking a lack of firm principle. However, she is engaging, beautiful and charming, and goes out of her way to befriend Fanny. Fanny fears that Mary has enchanted Edmund, and love has blinded him to her flaws. Henry plays with the affections of both Maria and Julia, despite Maria being already engaged to the dull, but very rich, Mr. Rushworth. Maria believes that Henry is really in love with her, and treats Mr Rushworth coldly, invoking his jealousy. Fanny is so little observed in the family circle and her presence is often overlooked and she frequently witnesses Maria and Henry in compromising situations.
Encouraged by Tom and his friend Mr. Yates, the young people decide to put on Elizabeth Inchbald's play Lovers' Vows; Edmund and Fanny both initially oppose the plan, believing Sir Thomas would disapprove and feeling that the subject matter of the play is not appropriate. Edmund is eventually swayed, offering to play the part of Anhalt, the lover of the character played by Mary Crawford. As well as giving Mary and Edmund a vehicle to talk about love and marriage, the play provides a pretext for Henry and Maria to flirt in public. Sir Thomas arrives unexpectedly in the middle of a rehearsal, which ends the plan. Henry leaves, and Maria is crushed; realising that Henry does not love her, she marries Mr. Rushworth and they leave for Brighton, taking Julia with them. Meanwhile, Fanny's improved looks and pleasant temper endear her to Sir Thomas, who pays more attention to her care.
Henry returns to Mansfield Park and decides to amuse himself by making Fanny fall in love with him. However, her genuine gentleness and kindness cause him to fall in love with her instead. When he proposes marriage, Fanny's disgust at his improper flirtations with her cousins, as well as her love for Edmund, cause her to reject him. The Bertrams are dismayed, since it is an extremely advantageous match for a poor girl like Fanny. Sir Thomas rebukes her for ingratitude. Henry decides he will continue to pursue Fanny, hoping that in time she will change her mind by coming to believe he is constant. Sir Thomas supports a plan for Fanny to pay a visit to her relatively poor family in Portsmouth, hoping that as Fanny suffers from the lack of comforts there, she will realize the usefulness of a good income. Henry pays Fanny a visit in Portsmouth, to convince her that he has changed and is worthy of her affection. Fanny's attitude begins to soften but she still maintains that she will not marry him.
Henry leaves for London, and shortly afterward, Fanny learns of a scandal involving Henry and Maria. The two had met again and rekindled their flirtation, which quickly had developed into an affair. The affair is discovered and hinted at in a national newspaper; Maria leaves her husband's house and elopes with Henry. The scandal is terrible and the affair results in Maria's divorce; however Henry refuses to marry her. To make matters worse, the dissolute Tom has taken ill, and Julia has eloped with Mr. Yates. Fanny returns to Mansfield Park to comfort her aunt and uncle and to help take care of Tom.
Although Edmund knows that marriage to Mary is now impossible because of the scandal between their relations, he goes to see her one last time. During the interview, it becomes clear that Mary does not condemn Henry and Maria's adultery, only that they got caught. Her main concern is covering it up and she implies that if Fanny had accepted Henry, he would have been too busy and happy to have an affair, and would have been content with merely a flirtation. This reveals Mary's true nature to Edmund, who realises he had idealised her as someone she is not. He tells her so and returns to Mansfield and his living as a Parson at Thornton Lacey. "At exactly the time it should be so, and not a week sooner." Edmund realises how important Fanny is to him, declares his love for her and they are married. Tom recovers from his illness, a steadier and better man for it, and Julia's elopement turns out to be not such a desperate business after all. Austen points out that if only Crawford had persisted in being steadfast to Fanny, and not succumbed to the affair with Maria, Fanny eventually would have accepted his marriage proposal—especially after Edmund had married Mary.
Characters in "Mansfield Park"
Fanny Price
The second eldest of nine children who is sent to live with her mother's sisters at Mansfield Park. Her mother married a poor lieutenant of marines for love. Mrs Price's alcoholic husband was disabled and released from the service on half pay, and she had to settle for a life far less comfortable than those of her sisters. Fanny is sensitive, shy, intelligent, seemingly virtuous, with a good sense of morals; and her status at Mansfield Park as a dependent poor relation only intensifies these traits. The bulk of the novel takes place when she is eighteen and nineteen. She has been in love with her cousin Edmund since she was young and when both realise their feelings, they get married. Fanny is pursued by Mr. Henry Crawford.
Lady Bertram
Sister of Fanny Price's mother who is married to the wealthy Sir Thomas Bertram. She is perpetually vague and distracted. Born "Miss Maria Ward, of Huntingdon, with only seven thousand pounds [...]." .
Mrs Norris
The officious, skinflint sister of Lady Bertram who lives near Mansfield Park. Her husband, Mr. Norris, was the parson at Mansfield Park until his death. She dislikes Fanny and takes every opportunity to put her down and make a distinction between Fanny's treatment and that of her wealthier cousins. Mrs. Norris also takes every opportunity to save money, such as taking candles from the main house for her maid's rooms.
Sir Thomas Bertram
The husband of Fanny's aunt, Lady Bertram. He owns the Mansfield Park estate and an estate in Antigua. He is initially stern and correct. He later realises his behaviour may have caused the ruin of his eldest daughter. He wishes his own children were more like his niece and nephew, Fanny and William Price.
Tom Bertram
The older son of Sir Thomas and Lady Bertram; he is seven years older than Fanny. Tom is principally interested in carousing in London society and enjoying the pleasures of the theatre with his friend, Mr. Yates. Tom incurs large debts, forcing Sir Thomas to sell the church position that would have gone to Tom's younger brother, Edmund. One celebratory journey leaves Tom with a fever and he later learns the error of his ways.
Edmund Bertram
The younger son of Sir Thomas and Lady Bertram; he is six years older than Fanny. He plans to be a clergyman. He alone among his family has any consideration for Fanny's feelings. As her protector and friend, he has a great deal of influence over her and helps form her character. Edmund becomes attracted to Miss Crawford, but her opinions on the scandal involving Mrs. Rushworth and Mr. Crawford mortify him. He later realizes he is in love with Fanny and they are married.
Maria Bertram
The very beautiful elder daughter of Sir Thomas and Lady Bertram; she is three years older than Fanny. She becomes engaged to Mr. Rushworth but she becomes attached to Henry Crawford. She expects Mr. Crawford to propose and when he doesn't, she marries Mr. Rushworth for his £12,000 a year, despite knowing him to be a boorish young man with little but his money to recommend him. Mr. Crawford returns to her life soon after marrying and she runs away with him. Rushworth divorces her and she is left to the mercy of her family because Mr. Crawford refuses to marry her. She ends up living with her aunt Norris.
Julia Bertram
The younger daughter of Sir Thomas and Lady Bertram; she is two years older than Fanny. She has strong feelings toward Mr. Crawford, but soon learns that he prefers Maria, despite, or because of, her sister's engagement. Mr. Yates pursues her, which is swiftly ended when Sir Thomas returns to the house. Julia later goes with Mr. and Mrs. Rushworth on their honeymoon and to their house in town. About the same time Maria runs away with Mr Crawford, Julia elopes with Mr. Yates, ostensibly to avoid being blamed by her father for Maria's elopement with Mr. Crawford .
Dr. Grant
The current parson at the Mansfield Park parsonage, he is a large man who greatly enjoys food and drink.
Mrs. Grant
The wife of Mr. Grant, and half-sister of Henry and Mary Crawford.
Mr. Henry Crawford
Brother of Mrs. Grant and Miss Crawford. A charming, extremely intelligent and eligible bachelor who plays with the emotions of Maria and Julia. This is observed by Fanny. After Maria's marriage, he decides to make Fanny fall in love with him but instead falls in love with her. He loses any chance with her after he and Maria run away together.
Miss Mary Crawford
The pretty and charming sister of Mr. Crawford and Mrs Grant, who takes a keen interest in Edmund Bertram in spite of his being a second son. However, though she seems charming, she has certain views and opinions which mean, in the end, she loses Edmund.
Mr. Rushworth
A wealthy but boring man who becomes engaged to Maria Bertram. He divorces her after she runs away with Henry Crawford.
The Hon. John Yates
A good friend of Tom Bertram. Tom and Yates carouse in London society and bring their love of the theatre to Mansfield Park. Yates expresses interest in Julia Bertram. He elopes with Julia around the time Mr. Crawford and Maria run away together.
William Price
Fanny's brother, a naval midshipman, with whom she is very close. Mr. Crawford seeks to ingratiate himself with Fanny by helping William in his profession. He is polite and kind and Fanny's only correspondent in her family until she visits them.
Mr. Price
Fanny's father, an officer in the Marines who lives in Portsmouth. Mr. Price drinks too much and is foul-mouthed, and seems to have little to no affection for his daughters.
Mrs. Price
Fanny's mother, sister of Mrs. Norris and Lady Bertram. She resembles Lady Bertram in her weak character and laziness, but under the pressure of a large family and a low income she has become slatternly and thoughtless. Like her husband, she seems to care little for Fanny.
Susan Price
Fanny's younger sister with whom Fanny first becomes close on a visit home. She returns with Fanny to Mansfield Park and takes Fanny's place helping her aunt when Fanny marries Edmund. Her character is better than many of her siblings.
Lady Stornoway
a society woman, who is complicit in Mr Crawford and Maria's flirtation. They meet at her parties and eventually run away together from her home.
Mrs. Rushworth
Mr. Rushworth's mother and Maria's mother-in-law. Mr. Rushworth is on his way to fetch her at Easter when Mr. Crawford and Maria increase their flirtation and eventually run away together. Mrs. Rushworth is noted to not be particularly fond of her daughter-in-law.
Literary significance & criticism
Mansfield Park is the most controversial and perhaps the least popular of Austen's major novels. Regency critics praised the novel's wholesome morality, but many modern readers find Fanny's timidity and disapproval of the theatricals difficult to sympathise with and reject the idea (made explicit in the final chapter) that she is a better person for the relative privations of her childhood. Jane Austen's own mother thought Fanny "insipid", and many other readers have found her priggish and unlikeable. Other critics point out that she is a complex personality, perceptive yet given to wishful thinking, and that she shows courage and grows in self-esteem during the latter part of the story. Austen biographer Claire Tomalin, who is generally rather critical of Fanny, argues that "it is in rejecting obedience in favour of the higher dictate of remaining true to her own conscience that Fanny rises to her moment of heroism." But Tomalin reflects the ambivalence that many readers feel towards Fanny when she also writes: "More is made of Fanny Price's faith, which gives her the courage to resist what she thinks is wrong; it also makes her intolerant of sinners, whom she is ready to cast aside."
The story contains much social satire, targeted particularly at the two aunts. It is perhaps the most socially realistic Austen novel, with Fanny's family of origin, the Prices, coming from a much lower echelon of society than most Austen characters.
Controversy over slavery
At one point, Edward Said implicated the novel in western culture's casual acceptance of the material benefits of slavery and imperialism, citing Austen's omission to mention that the estate of Mansfield Park was made possible only through slave labour. At another point, however, he seems to have acknowledged that Jane Austen disapproved of slavery:
* "All the evidence says that even the most routine aspects of holding slaves on a West Indian sugar plantation were cruel stuff. And everything we know about Jane Austen and her values is at odds with the cruelty of slavery. Fanny Price reminds her cousin that after asking Sir Thomas about the slave trade, “there was such a dead silence” as to suggest that one world could not be connected with the other since there simply is no common language for both. That is true."
Critics such as Gabrielle White, have criticised Said's condemnation of Jane Austen and western culture, maintaining that Austen and other writers, including Samuel Johnson and Edmund Burke, opposed slavery and helped make its eventual abolition possible. Claire Tomalin, following literary critic Brian Southam, claims that Fanny, usually so timid, questions her uncle about the slave trade and receives no answer, suggesting that her vision of the trade's immorality is clearer than his. However, Ellen Moody has challenged Southam's interpretation, arguing that Fanny's uncle would not have been "pleased" (as the text suggests) to be questioned on the subject if Southam's reading of the scene were correct.
Film, TV or theatrical adaptations
Mansfield Park has been the subject of a number of adaptations:
* 1983: Mansfield Park, BBC series directed by David Giles, starring Sylvestra Le Touzel as Fanny Price, Nicholas Farrell as Edmund Bertram and Anna Massey as Mrs Norris.
* 1999: Mansfield Park, film directed by Patricia Rozema, starring Frances O'Connor as Fanny Price and Jonny Lee Miller as Edmund Bertram (interestingly, he also featured in the 1983 version, playing one of Fanny's brothers). This film alters several major elements of the story and depicts Fanny as author of some of Austen's actual letters as well as her children's history of England. It emphasizes Austen's disapproval of slavery.
* 2007: Mansfield Park, a television adaptation produced by Company Pictures and starring Billie Piper, was screened on ITV1 in the UK on 18 March 2007.
《 ài mǎ》 shì yīng guó nǚ zuò jiā 'ào sī tīng zuò pǐn zhōng yì shù sī xiǎng zuì chéng shú de yī bù。 shū zhōng miáo huì liǎo shí jǐ gè nǚ xìng rén wù， zuì zhù yào de shì sān gè shàonǚ： ài mǎ、 jiǎn fěi 'ěr fèi kè sī yǔ hā lì 'āi tè。 zhè sān gè shàonǚ dōuyòu 'ào sī dīng lǐ xiǎng zhōng de wēn róu sān měi： wài biǎo yí tài de duān zhuāng yōu yǎ、 yán tán shén qíng de hé 'ǎi kě qīn、 xìng gé pǐn zhì de kuān róng zhèng zhí yǐ jí bì bù kě shǎo de rè qíng。 ài mǎ yǐ mǎn qiāng róu qíng guān xīn 'ài hù zhe tā de jiā rén yǔ péng yǒu， fěi 'ěr fèi kè sī shēn qíng dào jīhū kě yǐ wéi liàn rén róng rěn yī qiē zhé mó， hā lì 'āi tè zé gèng shì yī gè duō qíng de gū niàn， yī nián zhī zhōng quán xīn quán yì dì 'ài shàng liǎo sān gè nán zǐ。
ài mǎ - zuò pǐn nèi róng
ài mǎ wǔ dé háo sī jiā jìng fù yòu， rén yòu cōng yíng、 měi lì， chǔyú zhè zhǒng huán jìng lǐ de rén yòu xiē jiāo shēng guàn yǎng， zì yǐ wéi shì， yě zài qíng lǐ zhī zhōng。 tā gāng gāng cān jiā liǎo tā de péng yǒu、 bàn lǚ、 qián jiā tíng jiào shī tài lè xiǎo jiě jià gěi lín jìn de guān fū wéi sī dùn xiān shēng de hūn lǐ。 suī shuō zhè zhuāng hūn shì yàng yàng dōuhǎo， ài mǎ hái shì wéi shī qù hǎo yǒu 'ér 'àn zì tàn xī。 rú jīn hā tè fěi 'ěr dé zhǐ shèng xià tā hé fù qīn liǎo。 wǔ dé háo sī xiān shēng nián shì yǐ gāo， yòu 'ài wéi suǒ shì fā chóu， zì rán wú fǎ gěi nǚ 'ér zuò bàn 'ér。
wǔ dé háo sī jiā shì hǎi bó lì cūn de dà hù。 zài tā men yī jiā xiǎo xiǎo de péng yǒu juàn zǐ lǐ， péi wǔ dé háo sī xiān shēng còu zhuō dǎ pái de zhōng lǎo nián tài tài dǎo shì bù shǎo， kě shì méi yòu nián qīng xiǎo jiě néng zuò 'ài mǎ de péng yǒu hé xīn fù。 kě 'ài de tài lè xiǎo jiě rú jīn yǐ chéng liǎo wéi sī dùn tài tài， ài mǎ wèicǐ shēn gǎn jì mò， yú shì jiù bǎ hā lǐ tè shǐ mì sī zhì yú zì jǐ de bǎo hù zhī xià。 hā lǐ tè shì fù jìn jì sù xué xiào xué shēng， zhù zài xiào cháng jiā lǐ。 tā nián fāng shí qī， xiàngmào chū zhòng， suī rán zī zhì dī xià， dàn jǔ zhǐ xíng wéi què tǎo rén xǐ huān， háo bù zuò zuò， yòu xí guàn yú bǎ 'ài mǎ fèng wéi jiē mó， suǒ yǐ tǐng chēng rén xīn yì。
hā lǐ tè shì sī shēng nǚ， qí fù hé rén réng shì gè mí。 ài mǎ rèn wéi zhè nǚ hái kě néng chū shēn míng mén， biàn jí lì shǐ tā xiāng xìn tā yǐ qián jiāo wǎng de réndōu pèi bù shàng tā。 ài mǎ quàn tā yǔ mǎ dīng yī jiā rén duàn jué lái wǎng。 mǎ dīng jiā shì zhèng pài de nóng fū， suī yòu yī dìng cái chǎn， dàn bù shǔ shàng liú shè huì。 ài mǎ rèn wéi luó bó tè mǎ dīng bù pèi qǔ hā lǐ tè wéi qī， biàn gǔ lì zhè wèi gū niàn zhuī qiú nián qīng de mù shī 'āi 'ěr dùn xiān shēng。
ài mǎ cóng 'āi 'ěr dùn xiān shēng de shén tài shàng pàn dìng tā yǐ kāi shǐ 'ài shàng hā lǐ tè， biàn zì yǐ wéi cuō hé hūn yīn de jìhuà bì rán chéng gōng。 nài tè lì xiān shēng shì 'ài mǎ zài lún dūn dāng lǜ shī de jiě fū de dì dì。 néng kàn dào 'ài mǎ quē diǎn de rén wéi shǔbù duō， tā jiù shì qí zhōng zhī yī。 ài mǎ hé hā lǐ tè de qīn mì guān xì shǐ tā gǎn dào bù 'ān。 tā gào jiè 'ài mǎ zhè zhǒng guān xì wú lùn shì duì hā lǐ tè hái shì duì tā zì jǐ dōuméi yòu hǎo chù。 nài tè lì xiān shēng dé zhī hā lǐ tè zài 'ài mǎ sǒng yǒng zhī xià jù jué liǎo luó bó tè mǎ dīng de qiú hūn shí， jiù gèng jiā gǎn dào yōu lǜ。 ài mǎ zì jǐ dǎo shì xīn 'ān lǐ dé， yīn wéi tā què xìn 'āi 'ěr dùn xiān shēng duì hā lǐ tè shí fēn zhōng qíng， ér hā lǐ tè héng héng zài tā de gǔ dòng zhī xià héng héng duì tā yě yòu tóng yàng de 'ài mù zhī xīn。
āi 'ěr dùn xiān shēng sī xià xiàng 'ài mǎ qiú hūn， zhè shǐ 'ài mǎ měng rán xǐng wù。 tā tū rán yì shí dào， āi 'ěr dùn xiān shēng xiàng hā lǐ tè xiàn yīn qín shí zé shì chōng tā 'ér lái， ér tā yòu yì gǔ lì 'āi 'ěr dùn zhuī qiú zì jǐ nǚ yǒu de jǔ dòng， què bèi tā kàn chéng shì gǔ lì tā xiàng zì jǐ qiú hūn de biǎo shì。 āi 'ěr dùn de zì yǐ wéi shì yǐ jīng gòu tǎo yàn de liǎo， kě rú hé bǎ zhè gè xiāo xī tòu lù gěi hā lǐ tè， jiù gèng jiào rén xīn fán。
ài mǎ de shēng huó juàn zǐ lǐ yòu chū xiàn liǎo yī jiàn lìng rén shī wàng de shì。 fú lán kè qiū jí 'ěr jǐ gè yuè lái yī zhí dāyìng yào lái kàn wàng tā de fù qīn hé xīn guò mén de jì mǔ， dàn què zài cì tuī chí liǎo tā de lái fǎng rì qī。 qiū jí 'ěr shì wéi sī dùn xiān shēng dì yī gè qī zǐ suǒ shēng de 'ér zǐ， yòng liǎo mǔ qīn jiā de xìng shì。 nài tè lì xiān shēng rèn wéi zhè gè nián qīng rén rú jīn jué dé zì jǐ bǐ fù qīn de dì wèi yōu yuè。 ài mǎ hé tā zhēng zhí liǎo qǐ lái， dàn xīn lǐ què tóng yì tā de kàn fǎ。
jìn guǎn hā tè fěi 'ěr dé de shè jiāo juàn zǐ méi néng shòu dào qiū jí 'ěr de guāng gù， què yě zēng jiā liǎo yī gè jiào jiǎn fèi 'ěr fǎ kè sī de gū niàn。 jiǎn shì zǒng 'ài láo láo dāo dāo de bèi cí xiǎo jiě de wài shēng nǚ， mào měi cái shū， yǔ 'ài mǎ bù xiāng shàng xià。 nài tè lì xiān shēng 'àn shì， zhè jiù shì 'ài mǎ cóng lái bù néng yǔ jiǎn yǒu hǎo xiāng chù de yuán yīn zhī yī。 ài mǎ zì jǐ zé bǎ liǎng rén de lěng mò guān xì guī jiù yú jiǎn de lěng mò。
jiǎn dào dá hòu bù jiǔ， wéi sī dùn fū fù biàn jiē dào qiū jí 'ěr de xìn， xìn zhōng yòu lìng dìng tā de lái fǎng rì qī。 zhè yī cì tā zhēn de lái liǎo。 ài mǎ fā xiàn zhè shì yī wèi jì yīng jùn yòu yòu jiào yǎng de nián qīng rén。 tā chéng wéi wǔ dé háo sī jiā de cháng kè， tóng shí， yóu yú tā yǐ qián rèn shí jiǎn fèi 'ěr fǎ kè sī， yě jiù bù duàn dào bèi cí jiā lái bài fǎng。 dàn tā duì zhī dà xiàn yīn qín de gū niàn què bù shì jiǎn 'ér shì 'ài mǎ。 ài mǎ míng bái wéi sī dùn fū fù xī wàng zhè kē qíng zhǒng néng gòu kāihuājiēguǒ。
dà yuē jiù zài zhè gè shí hòu， jiǎn shōu dào liǎo yī fèn hòu lǐ， zhè shì yī jià gāng qín， sòng lǐ zhě bù zhī hé rén。 jù cāi cè， lǐ wù lái zì jiǎn de fù yù péng yǒu men。 jiǎn shì gè gū 'ér， yī zhí hé tā men zhù zài yī qǐ。 dàn miàn duì lǐ wù， jiǎn shén tài gān gà， jiān mò bù yǔ。 zài wéi sī dùn fū rén gào sù 'ài mǎ nài tè lì xiān shēng sì hū xǐ huān bìng guān xīn jiǎn zhī hòu， ài mǎ huái yí sòng lǐ de rén jiù shì nài tè lì。 ài mǎ yī xiǎng dào nài tè lì xiān shēng hé jiǎn hūn pèi chéng shuāng jiù wú fǎ rěn shòu。 dàn tā guān chá liǎng rén zài yī qǐ de qíng jǐng zhī hòu， dé chū liǎo shǐ zì jǐ mǎn yì de jié lùn： nài tè lì xiān shēng de jǔ dòng shì chū zì yǒu yì， ér bù shì 'ài qíng。
fèi lán kè qiū jí 'ěr gāi zǒu liǎo。 tā kàn shàng qù yòu xiē liàn liàn bùshě。 zài zuì hòu yī cì dào hā tè fěi 'ěr dé zuò kè shí， tā sì hū hěn xiǎng gào sù 'ài mǎ yī jiàn yán sù rèn zhēn de shì qíng； dàn shì 'ài mǎ suī rán rèn wéi qiū jí 'ěr xiǎng yào kāi kǒu xiàng tā biǎo bái 'ài qíng， què méi yòu gǔ lì tā bǎ xīn shì shuō chū lái。 yīn wéi zài 'ài mǎ de xiǎng xiàng zhōng， zì jǐ zǒng shì jù jué qiū jí 'ěr de qiú hūn， zǒng shì bǎ liǎng rén de 'ài qíng guī jié wéi píng jìng de yǒu yì。
āi 'ěr dùn xiān shēng chóngfǎn hǎi bó lì cūn， dài huí yī gè cāng cù qiú 'ài chéng hūn de xīn niàn。 zhè wèi fù rén xiǎo yòu zī chǎn， jí qí cū sú， què piān piān jiáo róu zào zuò， zì mìng gāo yǎ。 hā lǐ tè céng zài 'ài mǎ de quàn shuō xià duò rù 'ài hé， zài xiǎng quàn tā jiě tuō qíng wǎng shí fēi yì shì。 dàn 'ài mǎ wú lì bàn dào de shì qíng， āi 'ěr dùn xiān shēng de hūn yān què tì tā wán chéng liǎo。 hā lǐ tè zhōng yú kāi shǐ xǐng wù。 āi 'ěr dùn xiān shēng zài yī cì wǔ huì shàng duì tā de cū lǔ wú lǐ gèng cù chéng liǎo tā de xǐng wù。 āi 'ěr dùn xiān shēng jìng jù jué yǔ hā lǐ tè tiào wǔ， zhè shí， qīng yì bù tiào wǔ de nài tè lì xiān shēng qù zhù dòng yāo qǐng tā zuò wǔ bàn。 yú shì， zài hā lǐ tè xīn zhōng， āi 'ěr dùn xiān shēng de wèi zhì kāi shǐ yóu nài tè lì xiān shēng suǒ dài tì。 zhè jiàn shì lián 'ài mǎ dōubù zhī dào。
ài mǎ zì jǐ zé kāi shǐ kǎo lǜ xuǎn qiū jí 'ěr zuò hā lǐ tè de zhàng fū。 bù guò tā jué dìng zì jǐ bù zài qù chū lì cuō hé zhè zhuāng hūn shì。 chū yú yī xì liè de wù jiě， ài mǎ yǐ wéi hā lǐ tè zài zàn yáng qiū jí 'ěr， qí shí hā lǐ tè zàn yáng de shì nài tè lì xiān shēng。
wéi sī dùn tài tài réng rán rèn wéi nài tè lì xiān shēng 'ài mù jiǎn fèi 'ěr fǎ kè sī， zhè jiù shǐ fēn fán bù qīng de yuān yāng pǔ gèng jiā cuò zōng fù zá。 ér nài tè lì xiān shēng zé jué chá dào jiǎn hé qiū jí 'ěr zhī jiān yǐ yòu mǒu zhǒng mì yuē。 nài tè lì xiān shēng de cāi yí hòu lái dé dào liǎo zhèng shí： qiū jí 'ěr xiàng wéi sī dùn fū fù chéng rèn tā hé jiǎn zài 10 yuè fèn jiù yǐ mì mì dìng hūn。 wéi sī dùn fū fù shǒu xiān xiǎng dào de shì 'ài mǎ。 tā men dān xīn qiū jí 'ěr duì 'ài mǎ de yīn qín jǔ dòng kě néng yǐ shǐ 'ài mǎ xiàn rù qíng wǎng。 dàn 'ài mǎ xiàng wéi sī dùn tài tài biǎo shì tā céng yī dù duì qiū jí 'ěr yòu diǎn hǎo gǎn， dàn zhè duàn jī yuán zǎo yǐ guò qù。 ài mǎ xiàn zài zhù yào dān xīn liǎng jiàn shì。 yī shì tā céng duì qiū jí 'ěr shuō guò yī xiē guān yú jiǎn de huà， rú guǒ tā zǎo zhī dào liǎng rén yǐ jīng dìng hūn， jué bù huì nà yàng zuò。 èr shì tā rèn wéi zì yǐ yòu yī cì gǔ dòng hā lǐ tè duò rù yī duàn bù néng chéng gōng de liàn qíng zhī zhōng。
kě shì， dāng 'ài mǎ wěi wǎn dì bǎ zhè gè xiāo xī tòu lù gěi hā lǐ tè shí， què fā xiàn hā lǐ tè bìng méi yòu yīn cǐ gǎn dào bù 'ān。 liǎng rén de tán huà zǒng shì shuō bù dào yī kuài， hòu lái 'ài mǎ zhōng yú dé zhī hā lǐ tè xiàn zài qīng xīn de bù shì qiū jí 'ěr， ér shì nài tè lì xiān shēng。 dāng hā lǐ tè gào sù 'ài mǎ tā yòu lǐ yóu xiāng xìn nài tè lì xiān shēng duì tā yě shì yǐ 'ài bào 'ài shí， ài mǎ cái tū rán yì shí dào zì jǐ nèi xīn de mì mì： tā běn rén 'ài de yě shì nài tè lì xiān shēng。 xiàn zài tā zhēn xī wàng zì jǐ cóng lái bù rèn shí hā lǐ tè shǐ mì sī。 chú liǎo zì jǐ xiǎng jià gěi nài tè lì xiān shēng zhī wài， tā hái míng bái， nài tè lì rú hé hā lǐ tè jié hé， bù dàn shì bù xiāngchèn de hūn pèi， ér qiě yě hěn nán dài lái xìng fú。
ài mǎ duì zhè yī shì tài de yōu lǜ bù jiǔ biàn gào jié shù： nài tè lì xiān shēng xiàng tā qiú hūn liǎo。 dàn tā de yuán mǎn xìng fú yě yòu měi zhōng bù zú。 tā zhī dào zì jǐ de hūn shì huì shǐ fù qīn hěn bù gāo xīng， yīn wéi lǎo rén bù yuàn shēng huó yòu sī háo de gǎi biàn。 ér qiě tā zài bù zhī bù jué zhōng yòu yī cì shǐ hā lǐ tè miàn lín shī wàng de dǎ jī。 ài mǎ hé nài tè lì xiān shēng jué dìng zhù zài hā tè fěi 'ěr dé， yī zhí péi bàn fù qīn dù guò wǎn nián。 zhè jiù jiě jué liǎo dì yī gè nán tí。 zhì yú hā lǐ tè， nài tè lì xiān shēng zhī suǒ yǐ duì tā guān zhù， shì yīn wéi tā què shí xiǎng diào chá qīng chǔ gū niàn duì tā de nián qīng diàn hù luó bó tè mǎ dīng shì fǒu réng yòu 'ài xīn。 jiēguǒ， nài tè lì xiān shēng zhōng yú zài yī tiān zǎo shàng xuān bù， luó bó tè mǎ dīng zài cì xiàng hā lǐ tè qiú hūn， bìng qiě bèi tā jiē shòu。 hā lǐ tè de qián tú yǐ dìng， ài mǎ zì rán shí fēn gāo xīng。 ài mǎ zǒng kě yǐ zhè yàng huí shǒu wǎng shì， tā zhōu wéi de rén quándōu mén dànghù duì dì hūn pèi chéng qīn， zhè cái shì tā men zhēn zhèng xìng fú de bì yào tiáo jiàn。
ài mǎ - zuò zhě jiǎn jiè
ào sī tīng (1775-1817)， 19 shì jì yīng guó zuì zǎo fā biǎo xiàn shí zhù yì xiǎo shuō de nǚ zuò jiā。 shēng yú yīng guó xiǎo xiāng zhèn shǐ dì wén dùn de yī gè mù shī jiā tíng， jīhū cóng wèi jiē shòu guò zhèng guī jiào yù， dàn yóu yú jiā tíng wén xué kōng qì xūn táo 'ér chéng wéi zhù míng zuò jiā。 qí zuò pǐn zhù yào miáo huì tā zài xiá xiǎo shēng huó juàn zǐ lǐ suǒ shú xī de zhōng chǎn jiē jí de jiā tíng shēng huó， qīng nián nán nǚ de liàn 'ài hūn yīn jí qí xīn tài， jù yòu guān chá xì zhì， rén wù kè huà wéi miào wéi xiào， píng lùn jiān kè děng yì shù tè sè。 20 suì zuǒ yòu kāi shǐ chuàng zuò， gòng fā biǎo 6 bù xiǎo shuō：《 lǐ zhì yǔ gǎn qíng》、《 ào màn yǔ piān jiàn》、《 màn sī fěi 'ěr dé huā yuán》、《 ài mǎ》、《 nuò sāng jué sì》、《 quàn dǎo》。 ào sī tīng zuì chū chuàng zuò shì wéi liǎo fǎn duì liú xíng xiǎo shuō。 hòu lái yòu fǎn yìng liǎo 18 shì jì mò 19 shì jì chū dāng shí wèi shòu zī běn zhù yì gōng yè gé mìng làng cháo chōng jī de yīng guó xiāng cūn zhōng chǎn jiē jí de rì cháng shēng huó chǎng jǐng， sǎo chú liǎo dāng shí xiǎo shuō chuàng zuò de yōng sú fēng qì， zài yīng guó xiǎo shuō fā zhǎn shǐ shàng qǐ dào liǎo chéng shàng qǐ xià de zuò yòng， tóng shí 'ào sī tīng yòu shì gōng rèn de miáo xiě fù nǚ yì shí de zhuó yuè zuò jiā。
ài mǎ - zuò pǐn píng jià
píng lùn jiā shuō：“《 ài mǎ》 kě néng shì 'ào sī dīng zuì chéng shú de zuò pǐn。” zhè bù zuò zhě shēng qián zuì hòu chū bǎn de xiǎo shuō， néng bèi guànyǐ rú cǐ gāo de píng jià， hěn dà chéng dù shàng yuán yú bǐ qǐ qí tā zuò pǐn lái， tā gèng wéi shēn rù quán miàn dì biǎo xiàn liǎo zuò zhě de shěn měi qíng qù yǔ chuàng zuò tài dù， èr zì gài kuò zhī， nà jiù shì“ wēn róu”。 ào sī dīng de shěn měi qíng qù zhuózhòng fǎn yìng zài nǚ xìng xíng xiàng de sù zào shàng。
dàn shì， ào sī dīng qiáng diào yī diǎn héng héng héng rè qíng bù děng yú jī qíng。 yī gè rè qíng de nǚ xìng kě yǐ shǐ shēng huó chōng mǎn qù wèi， gěi rén men yǐ kuài lè， dàn yī dàn rè qíng chāo guò liǎo xiàn dù， jí lǐ zhì kòng zhì de fàn wéi hòu， tā jiù huì tuì biàn chéng yòu hài de jī qíng。 fàn làn de jī qíng shǐ hā lì 'āi tè cháng jìn shī liàn de tòng kǔ； fěi 'ěr fèi kè sī yóu yú yī shí jī qíng fàn xià cuò wù， zuò wéi chéng fá， zài xiāng dāng cháng de shí jiān nèi“ yī kè yě méi yòu 'ān níng guò”； ài mǎ“ duì zì jǐ de měi yī zhǒng jī qíng dū jué dé xiū kuì”， tā shì nǚ zhù rén gōng xìng fú shēng huó zhōng jǐn yòu de nà yī diǎn kǔ nǎo de yuán tóu。 zài 'ào sī dīng yǎn lǐ， jī qíng shì fáng 'ài wán měi zuì zhòng yào de yīn sù zhī yī。 tuī chóng wēn róu de shěn měi qíng qù zhí jiē yǐng xiǎng liǎo 'ào sī dīng de chuàng zuò tài dù。 zuò zhě jiè 'ài mǎ zhī kǒu zhè yàng shuō：“ wǒ suī rán méi yòu zhè gè yōu diǎn héng héng héng dàn shì wǒ dǒng dé rú hé zhēn shì hé zūn zhòng tā”，《 ài mǎ》 de měi yī zì lǐ xíng jiān wú bù tòu lù chū 'ào sī dīng de zhēn chéng yǔ kuān hòu： bù kē qiú zì jǐ、 bù kē qiú bǐ xià rén wù、 bù kē qiú dú zhě héng héng héng jǐn jǐn píng zhe“ xīng qù hé 'àihào” lái miáo shù shēng huó， chuàng zuò duì yú tā lái shuō shì yī zhǒng rè qíng yáng yì、 qīng sōng zì rán de gǎn shòu lì chéng； tā duì tā sù zào de měi yī gè nǚ xìng dū bào zhe rè chén de xī wàng， dàn yòu wú bǐ kuān róng， suǒ yǐ cóng shěn měi yì yì shàng kàn， gè gèdōu rú tā miáo huì 'ài mǎ yī bān“ zuì hǎo de， jìn guǎn yòu nà xiē quē diǎn hái shì wán měi wú quē”； tā fù yú“ chá bēi lǐ de xiǎo fēng bō” jù dà de mèi lì， dàn yòu bù yào qiú dú zhě chén nì qí zhōng， gù cháng cháng dǎ pò“ dì sì dǔ qiáng”， tiào chū shū wài， ràng dú zhě yì shí dào zhè zhǐ shì gè xiǎng xiàng shì jiè。 suǒ yǐ zhì shǎo kě yǐ shuō， ào sī dīng huì chéng wéi dú zhě zuì qīn 'ài de péng yǒu。
ài mǎ - xiě zuò bèi jǐng
ài mǎ《 ài mǎ》
cóng 18 shì jì mò dào 19 shì jì chū， yōng sú wú liáo de“ gǎn shāng xiǎo shuō” hé“ gē tè xiǎo shuō” chōng chì yīng guó wén tán， ér 'ào sī tīng de xiǎo shuō pò jiù lì xīn， yī fǎn cháng guī dì zhǎn xiàn liǎo dāng shí shàng wèi shòu dào zī běn zhù yì gōng yè gé mìng chōng jī de yīng guó xiāng cūn zhōng chǎn jiē jí de rì cháng shēng huó hé tián yuán fēng guāng。 tā de zuò pǐn wǎng wǎng tōng guò xǐ jù xìng de chǎng miàn cháo fěng rén men de yú chǔn、 zì sī、 shì lì hé máng mù zì xìn děng kě bǐ kě xiào de ruò diǎn。 ào sī tīng de xiǎo shuō chū xiàn zài 19 shì jì chū yè， yī sǎo fēng xíng yī shí de jiǎ làng màn zhù yì cháo liú， jì chéng hé fā zhǎn liǎo yīng guó 18 shì jì yōu xiù de xiàn shí zhù yì chuán tǒng， wéi 19 shì jì xiàn shí zhù yì xiǎo shuō de gāo cháo zuò liǎo zhǔn bèi。 suī rán qí zuò pǐn fǎn yìng de guǎng dù hé shēn dù yòu xiàn， dàn tā de zuò pǐn rú“ liǎng cùn yá diāo”， cóng yī gè xiǎo chuāng kǒu zhōng kuī shì dào zhěng gè shè huì xíng tài hé rén qíng shì gù， duì gǎi biàn dāng shí xiǎo shuō chuàng zuò zhōng de yōng sú fēng qì qǐ liǎo hǎo de zuò yòng， zài yīng guó xiǎo shuō de fā zhǎn shǐ shàng yòu chéng shàng qǐ xià de yì yì， bèi yù wéi dì wèi“ kě yǔ suō shì bǐ yà píng qǐ píng zuò” de zuò jiā。
Before she began the novel, Austen wrote, "I am going to take a heroine whom no-one but myself will much like." In the very first sentence she introduces the title character as "Emma Woodhouse, handsome, clever, and rich." Emma, however, is also rather spoiled; she greatly overestimates her own matchmaking abilities; and she is blind to the dangers of meddling in other people's lives and is often mistaken about the meanings of others' actions.
Plot summary
Although convinced that she herself will never marry, Emma Woodhouse, a precocious twenty-year-old resident of the village of Highbury, imagines herself to be naturally gifted in conjuring love matches. After self-declared success at matchmaking between her governess and Mr. Weston, a village widower, Emma takes it upon herself to find an eligible match for her new friend, Harriet Smith. Though Harriet’s parentage is unknown, Emma is convinced that Harriet deserves to be a gentleman’s wife and sets her friend’s sights on Mr. Elton, the village vicar. Meanwhile, Emma persuades Harriet to reject the proposal of Robert Martin, a well-to-do farmer for whom Harriet clearly has feelings.
Harriet becomes infatuated with Mr. Elton under Emma’s encouragement, but Emma’s plans go awry when Elton makes it clear that his affection is for Emma, not Harriet. Emma realizes that her obsession with making a match for Harriet has blinded her to the true nature of the situation. Mr. Knightley, Emma’s brother-in-law and treasured friend, watches Emma’s matchmaking efforts with a critical eye. He believes that Mr. Martin is a worthy young man whom Harriet would be lucky to marry. He and Emma quarrel over Emma’s meddling, and, as usual, Mr. Knightley proves to be the wiser of the pair. Elton, spurned by Emma and offended by her insinuation that Harriet is his equal, leaves for the town of Bath and marries a young woman there almost immediately.
Emma is left to comfort Harriet and to wonder about the character of a new visitor expected in Highbury—Mr. Weston’s son, Frank Churchill. Frank is set to visit his father in Highbury after having been raised by his aunt and uncle in London, who have also adopted him as their heir. Emma knows nothing about Frank, who has long been deterred from visiting his father by his aunt’s illnesses and complaints. Mr. Knightley is immediately suspicious of the young man, especially after Frank rushes back to London merely to have his hair cut. Emma, however, finds Frank delightful and notices that his charms are directed mainly toward her. Though she plans to discourage these charms, she finds herself flattered and engages in a flirtation with the young man. Emma greets Jane Fairfax, another addition to the Highbury set, with less enthusiasm. Jane is beautiful and accomplished, but Emma dislikes her because of her reserve and, the narrator insinuates, because she is jealous of Jane.
Suspicion, intrigue, and misunderstandings ensue. Mr. Knightley defends Jane, saying that she deserves compassion because, unlike Emma, she has no independent fortune and must soon leave home to work as a governess. Mrs. Weston suspects that the warmth of Mr. Knightley’s defense comes from romantic feelings, an implication Emma resists. Everyone assumes that Frank and Emma are forming an attachment, though Emma soon dismisses Frank as a potential suitor and imagines him as a match for Harriet. At a village ball, Knightley earns Emma’s approval by offering to dance with Harriet, who has just been humiliated by Mr. Elton and his new wife. The next day, Frank saves Harriet from Gypsy beggars. When Harriet tells Emma that she has fallen in love with a man above her social station, Emma believes that she means Frank. Knightley begins to suspect that Frank and Jane have a secret understanding, and he attempts to warn Emma. Emma laughs at Knightley’s suggestion and loses Knightley’s approval when she flirts with Frank and insults Miss Bates, a kindhearted spinster and Jane’s aunt, at a picnic. When Knightley reprimands Emma, she weeps.
News comes that Frank’s aunt has died, and this event paves the way for an unexpected revelation that slowly solves the mysteries. Frank and Jane have been secretly engaged; his attentions to Emma have been a screen to hide his true preference. With his aunt’s death and his uncle’s approval, Frank can now marry Jane, the woman he loves. Emma worries that Harriet will be crushed, but she soon discovers that it is Knightley, not Frank, who is the object of Harriet’s affection. Harriet believes that Knightley shares her feelings. Emma finds herself upset by Harriet’s revelation, and her distress forces her to realize that she is in love with Knightley. Emma expects Knightley to tell her he loves Harriet, but, to her delight, Knightley declares his love for Emma. Harriet is soon comforted by a second proposal from Robert Martin, which she accepts. The novel ends with the marriage of Harriet and Mr. Martin and that of Emma and Mr. Knightley, resolving the question of who loves whom after all.
Principal characters
Emma Woodhouse, the protagonist of the story, is a beautiful, high-spirited, intelligent, and 'slightly' spoiled young woman of 21. Her mother died when she was very young, and she has been mistress of the house ever since, certainly since her older sister got married. While she is in many ways mature for her age, Emma makes some serious mistakes, mainly due to her conviction that she is always right and her lack of real world experience. Although she has vowed she will never ever marry, she delights in making matches for others. She seems unable to fall in love, until jealousy makes her realize that she has loved Mr Knightley all along.
Mr George Knightley, about 37 or 38. He is a close friend of Emma, and her only critic, though he cares deeply for her. Mr Knightley is the owner of the neighbouring estate of Donwell, which includes extensive grounds and a farm. He is the elder brother of Mr John Knightley—the husband of Emma's elder sister Isabella. Mr Knightley is very annoyed with Emma for persuading Harriet to turn down Mr Martin, thinking that the advantage is all on Harriet's side; he also warns Emma against matchmaking Harriet with Mr Elton, correctly guessing that Mr Elton has a much higher opinion of himself. He is suspicious of Frank Churchill and his motives; although his suspicion turns out to be based mainly on jealousy of the younger man, his instincts are proven correct by the revelation that Frank Churchill is not all that he seems.
Mr Frank Churchill, Mr Weston's son by his previous marriage, an amiable young man who manages to be liked by everyone except Mr Knightley, who considers him quite immature, although this partially results from his jealously of Frank's supposed 'pursuit' of Emma. After his mother's death he was raised by his wealthy aunt and uncle, whose last name he took. Frank enjoys dancing and music and living life to the fullest. Frank may be viewed as a careless but less villainous version of characters from other Austen novels, such as Mr Wickham from Pride and Prejudice or Willoughby from Sense and Sensibility.
Jane Fairfax, an orphan whose only family consists of an aunt, Miss Bates, and a grandmother, Mrs Bates. She is regarded as a very beautiful, clever, and elegant woman, with the best of manners, and is also very well-educated and exceptionally talented at singing and playing the piano; in fact, she is the sole person that Emma envies. She has little fortune, however, and seems destined to become a governess – a prospect she dislikes.
Harriet Smith, a young friend of Emma's, is a very pretty but unsophisticated girl who is too easily led by others, especially Emma; she has been educated at a nearby school. The illegitimate daughter of initially unknown parents, she is revealed in the last chapter to be the daughter of a fairly rich and decent tradesman, although not a "gentleman". Emma takes Harriet under her wing early in the novel, and she becomes the subject of some of Emma's misguided matchmaking attempts. Harriet initially rebuffs a marriage proposal from farmer Robert Martin because of Emma's belief that he is beneath her, despite Harriet's own doubtful origins. She then develops a passion for Mr Knightley, which is the catalyst for Emma realising her own feelings. Ultimately, Harriet and Mr Martin are wed, despite Emma's meddling.
Philip Elton is a good-looking, well mannered and ambitious young vicar. Emma wants him to marry Harriet; he wants to marry Emma. Mr Elton displays his mercenary nature by quickly marrying another woman of means after Emma's rejection.
Augusta Elton, formerly Miss Hawkins, is Mr Elton's moneyed but obnoxious wife. She is a boasting, domineering, pretentious woman who likes to be the centre of attention and is generally disliked by Emma and her circle. She patronizes Jane, which earns Jane the sympathy of others.
Mrs Anne Weston, formerly Miss Taylor, was Emma's governess for sixteen years and remains her closest friend and confidante after she marries Mr Weston in the opening chapter. She is a sensible woman who adores Emma. Mrs Weston acts as a surrogate mother to her former charge and, occasionally, as a voice of moderation and reason.
Mr Weston, a recently wealthy man living in the vicinity of Hartfield. He marries Emma's former governess, Miss Taylor, and by his first marriage is father to Frank Churchill, who was adopted and raised by his late wife's brother and sister-in-law. Mr Weston is a sanguine, optimistic man, who enjoys socializing.
Miss Bates, a friendly, garrulous spinster whose mother, Mrs Bates, is a friend of Mr Woodhouse. Her accomplished niece, Jane Fairfax, is the light of her life. One day, Emma humiliates her on a day out in the country, when she pointedly alludes to her tiresome prolixity. Afterward, Mr Knightley sternly rebukes Emma. Shamed, she tries to make amends.
Mr Henry Woodhouse, Emma's father, is always concerned for his own health and that of his friends, to the point of trying to deny his visitors foods he thinks too rich. He laments that "poor Isabella" and "poor Miss Taylor" have married and been taken away from him.
Isabella Woodhouse is the elder sister of Emma and daughter of Henry. She is married to John Knightley.
John Knightley is Isabella's husband and George's younger brother. He is an old acquaintance of Jane Fairfax.
Criticism and themes
Emma Woodhouse is the first Austen heroine with no financial concerns, which, she declares to the naïve Miss Smith, is the reason that she has no inducement to marry. This is a great departure from Austen's other novels, in which the quest for marriage and financial security are two of several themes in the stories. Emma's ample financial resources are one of the factors that make this novel much lighter than Austen's earlier works, such as Sense and Sensibility and Pride and Prejudice. Jane Fairfax's prospects, in contrast, are bleak.
In contrast to other Austen heroines Emma seems immune to romantic attraction . Unlike Marianne Dashwood, who is attracted to the wrong man before she settles on the right one, Emma shows no romantic interest in the men she meets. She is genuinely surprised (and somewhat disgusted) when Mr Elton declares his love for her—much in the way Elizabeth Bennet singularly reacts to the obsequious Mr Collins. Her fancy for Frank Churchill represents more of a longing for a little drama in her life than a longing for romantic love. Notably too, Emma utterly fails to understand the budding affection between Harriet Smith and Robert Martin; she interprets the prospective match solely in terms of financial settlements and social ambition. It is only after Harriet Smith reveals her interest in Mr Knightley that Emma realizes her own feelings for him.
While Emma differs strikingly from Austen's other heroines in these two respects, she resembles Elizabeth Bennet and Anne Elliot, among others, in another way: she is an intelligent young woman with too little to do and no ability to change her location or everyday routine. Though her family is loving and her economic status secure, Emma's everyday life is dull indeed; she has few companions her own age when the novel begins. Her determined though inept matchmaking may represent a muted protest against the narrow scope of a wealthy woman's life, especially that of a woman who is single and childless.
Film and television adaptations
Emma has been the subject of many adaptations:
* 1948: Emma
* 1972: Emma (BBC 1972 television), starring Doran Godwin as Emma.
* 1995: Clueless (a loose modern adaptation), starring Alicia Silverstone as Cher Horowitz (Emma).
* 1996: Emma, starring Gwyneth Paltrow as Emma.
* 1996: Emma, starring Kate Beckinsale as Emma.
* 2009: Emma, starring Romola Garai as Emma.
* 2010: Aisha, starring Sonam Kapoor as Aisha (Emma - Hindi language Version), produced by Rhea Kapoor
ài mǎ - zuò pǐn nèi róng
ài mǎ wǔ dé háo sī jiā jìng fù yòu， rén yòu cōng yíng、 měi lì， chǔyú zhè zhǒng huán jìng lǐ de rén yòu xiē jiāo shēng guàn yǎng， zì yǐ wéi shì， yě zài qíng lǐ zhī zhōng。 tā gāng gāng cān jiā liǎo tā de péng yǒu、 bàn lǚ、 qián jiā tíng jiào shī tài lè xiǎo jiě jià gěi lín jìn de guān fū wéi sī dùn xiān shēng de hūn lǐ。 suī shuō zhè zhuāng hūn shì yàng yàng dōuhǎo， ài mǎ hái shì wéi shī qù hǎo yǒu 'ér 'àn zì tàn xī。 rú jīn hā tè fěi 'ěr dé zhǐ shèng xià tā hé fù qīn liǎo。 wǔ dé háo sī xiān shēng nián shì yǐ gāo， yòu 'ài wéi suǒ shì fā chóu， zì rán wú fǎ gěi nǚ 'ér zuò bàn 'ér。
wǔ dé háo sī jiā shì hǎi bó lì cūn de dà hù。 zài tā men yī jiā xiǎo xiǎo de péng yǒu juàn zǐ lǐ， péi wǔ dé háo sī xiān shēng còu zhuō dǎ pái de zhōng lǎo nián tài tài dǎo shì bù shǎo， kě shì méi yòu nián qīng xiǎo jiě néng zuò 'ài mǎ de péng yǒu hé xīn fù。 kě 'ài de tài lè xiǎo jiě rú jīn yǐ chéng liǎo wéi sī dùn tài tài， ài mǎ wèicǐ shēn gǎn jì mò， yú shì jiù bǎ hā lǐ tè shǐ mì sī zhì yú zì jǐ de bǎo hù zhī xià。 hā lǐ tè shì fù jìn jì sù xué xiào xué shēng， zhù zài xiào cháng jiā lǐ。 tā nián fāng shí qī， xiàngmào chū zhòng， suī rán zī zhì dī xià， dàn jǔ zhǐ xíng wéi què tǎo rén xǐ huān， háo bù zuò zuò， yòu xí guàn yú bǎ 'ài mǎ fèng wéi jiē mó， suǒ yǐ tǐng chēng rén xīn yì。
hā lǐ tè shì sī shēng nǚ， qí fù hé rén réng shì gè mí。 ài mǎ rèn wéi zhè nǚ hái kě néng chū shēn míng mén， biàn jí lì shǐ tā xiāng xìn tā yǐ qián jiāo wǎng de réndōu pèi bù shàng tā。 ài mǎ quàn tā yǔ mǎ dīng yī jiā rén duàn jué lái wǎng。 mǎ dīng jiā shì zhèng pài de nóng fū， suī yòu yī dìng cái chǎn， dàn bù shǔ shàng liú shè huì。 ài mǎ rèn wéi luó bó tè mǎ dīng bù pèi qǔ hā lǐ tè wéi qī， biàn gǔ lì zhè wèi gū niàn zhuī qiú nián qīng de mù shī 'āi 'ěr dùn xiān shēng。
ài mǎ cóng 'āi 'ěr dùn xiān shēng de shén tài shàng pàn dìng tā yǐ kāi shǐ 'ài shàng hā lǐ tè， biàn zì yǐ wéi cuō hé hūn yīn de jìhuà bì rán chéng gōng。 nài tè lì xiān shēng shì 'ài mǎ zài lún dūn dāng lǜ shī de jiě fū de dì dì。 néng kàn dào 'ài mǎ quē diǎn de rén wéi shǔbù duō， tā jiù shì qí zhōng zhī yī。 ài mǎ hé hā lǐ tè de qīn mì guān xì shǐ tā gǎn dào bù 'ān。 tā gào jiè 'ài mǎ zhè zhǒng guān xì wú lùn shì duì hā lǐ tè hái shì duì tā zì jǐ dōuméi yòu hǎo chù。 nài tè lì xiān shēng dé zhī hā lǐ tè zài 'ài mǎ sǒng yǒng zhī xià jù jué liǎo luó bó tè mǎ dīng de qiú hūn shí， jiù gèng jiā gǎn dào yōu lǜ。 ài mǎ zì jǐ dǎo shì xīn 'ān lǐ dé， yīn wéi tā què xìn 'āi 'ěr dùn xiān shēng duì hā lǐ tè shí fēn zhōng qíng， ér hā lǐ tè héng héng zài tā de gǔ dòng zhī xià héng héng duì tā yě yòu tóng yàng de 'ài mù zhī xīn。
āi 'ěr dùn xiān shēng sī xià xiàng 'ài mǎ qiú hūn， zhè shǐ 'ài mǎ měng rán xǐng wù。 tā tū rán yì shí dào， āi 'ěr dùn xiān shēng xiàng hā lǐ tè xiàn yīn qín shí zé shì chōng tā 'ér lái， ér tā yòu yì gǔ lì 'āi 'ěr dùn zhuī qiú zì jǐ nǚ yǒu de jǔ dòng， què bèi tā kàn chéng shì gǔ lì tā xiàng zì jǐ qiú hūn de biǎo shì。 āi 'ěr dùn de zì yǐ wéi shì yǐ jīng gòu tǎo yàn de liǎo， kě rú hé bǎ zhè gè xiāo xī tòu lù gěi hā lǐ tè， jiù gèng jiào rén xīn fán。
ài mǎ de shēng huó juàn zǐ lǐ yòu chū xiàn liǎo yī jiàn lìng rén shī wàng de shì。 fú lán kè qiū jí 'ěr jǐ gè yuè lái yī zhí dāyìng yào lái kàn wàng tā de fù qīn hé xīn guò mén de jì mǔ， dàn què zài cì tuī chí liǎo tā de lái fǎng rì qī。 qiū jí 'ěr shì wéi sī dùn xiān shēng dì yī gè qī zǐ suǒ shēng de 'ér zǐ， yòng liǎo mǔ qīn jiā de xìng shì。 nài tè lì xiān shēng rèn wéi zhè gè nián qīng rén rú jīn jué dé zì jǐ bǐ fù qīn de dì wèi yōu yuè。 ài mǎ hé tā zhēng zhí liǎo qǐ lái， dàn xīn lǐ què tóng yì tā de kàn fǎ。
jìn guǎn hā tè fěi 'ěr dé de shè jiāo juàn zǐ méi néng shòu dào qiū jí 'ěr de guāng gù， què yě zēng jiā liǎo yī gè jiào jiǎn fèi 'ěr fǎ kè sī de gū niàn。 jiǎn shì zǒng 'ài láo láo dāo dāo de bèi cí xiǎo jiě de wài shēng nǚ， mào měi cái shū， yǔ 'ài mǎ bù xiāng shàng xià。 nài tè lì xiān shēng 'àn shì， zhè jiù shì 'ài mǎ cóng lái bù néng yǔ jiǎn yǒu hǎo xiāng chù de yuán yīn zhī yī。 ài mǎ zì jǐ zé bǎ liǎng rén de lěng mò guān xì guī jiù yú jiǎn de lěng mò。
jiǎn dào dá hòu bù jiǔ， wéi sī dùn fū fù biàn jiē dào qiū jí 'ěr de xìn， xìn zhōng yòu lìng dìng tā de lái fǎng rì qī。 zhè yī cì tā zhēn de lái liǎo。 ài mǎ fā xiàn zhè shì yī wèi jì yīng jùn yòu yòu jiào yǎng de nián qīng rén。 tā chéng wéi wǔ dé háo sī jiā de cháng kè， tóng shí， yóu yú tā yǐ qián rèn shí jiǎn fèi 'ěr fǎ kè sī， yě jiù bù duàn dào bèi cí jiā lái bài fǎng。 dàn tā duì zhī dà xiàn yīn qín de gū niàn què bù shì jiǎn 'ér shì 'ài mǎ。 ài mǎ míng bái wéi sī dùn fū fù xī wàng zhè kē qíng zhǒng néng gòu kāihuājiēguǒ。
dà yuē jiù zài zhè gè shí hòu， jiǎn shōu dào liǎo yī fèn hòu lǐ， zhè shì yī jià gāng qín， sòng lǐ zhě bù zhī hé rén。 jù cāi cè， lǐ wù lái zì jiǎn de fù yù péng yǒu men。 jiǎn shì gè gū 'ér， yī zhí hé tā men zhù zài yī qǐ。 dàn miàn duì lǐ wù， jiǎn shén tài gān gà， jiān mò bù yǔ。 zài wéi sī dùn fū rén gào sù 'ài mǎ nài tè lì xiān shēng sì hū xǐ huān bìng guān xīn jiǎn zhī hòu， ài mǎ huái yí sòng lǐ de rén jiù shì nài tè lì。 ài mǎ yī xiǎng dào nài tè lì xiān shēng hé jiǎn hūn pèi chéng shuāng jiù wú fǎ rěn shòu。 dàn tā guān chá liǎng rén zài yī qǐ de qíng jǐng zhī hòu， dé chū liǎo shǐ zì jǐ mǎn yì de jié lùn： nài tè lì xiān shēng de jǔ dòng shì chū zì yǒu yì， ér bù shì 'ài qíng。
fèi lán kè qiū jí 'ěr gāi zǒu liǎo。 tā kàn shàng qù yòu xiē liàn liàn bùshě。 zài zuì hòu yī cì dào hā tè fěi 'ěr dé zuò kè shí， tā sì hū hěn xiǎng gào sù 'ài mǎ yī jiàn yán sù rèn zhēn de shì qíng； dàn shì 'ài mǎ suī rán rèn wéi qiū jí 'ěr xiǎng yào kāi kǒu xiàng tā biǎo bái 'ài qíng， què méi yòu gǔ lì tā bǎ xīn shì shuō chū lái。 yīn wéi zài 'ài mǎ de xiǎng xiàng zhōng， zì jǐ zǒng shì jù jué qiū jí 'ěr de qiú hūn， zǒng shì bǎ liǎng rén de 'ài qíng guī jié wéi píng jìng de yǒu yì。
āi 'ěr dùn xiān shēng chóngfǎn hǎi bó lì cūn， dài huí yī gè cāng cù qiú 'ài chéng hūn de xīn niàn。 zhè wèi fù rén xiǎo yòu zī chǎn， jí qí cū sú， què piān piān jiáo róu zào zuò， zì mìng gāo yǎ。 hā lǐ tè céng zài 'ài mǎ de quàn shuō xià duò rù 'ài hé， zài xiǎng quàn tā jiě tuō qíng wǎng shí fēi yì shì。 dàn 'ài mǎ wú lì bàn dào de shì qíng， āi 'ěr dùn xiān shēng de hūn yān què tì tā wán chéng liǎo。 hā lǐ tè zhōng yú kāi shǐ xǐng wù。 āi 'ěr dùn xiān shēng zài yī cì wǔ huì shàng duì tā de cū lǔ wú lǐ gèng cù chéng liǎo tā de xǐng wù。 āi 'ěr dùn xiān shēng jìng jù jué yǔ hā lǐ tè tiào wǔ， zhè shí， qīng yì bù tiào wǔ de nài tè lì xiān shēng qù zhù dòng yāo qǐng tā zuò wǔ bàn。 yú shì， zài hā lǐ tè xīn zhōng， āi 'ěr dùn xiān shēng de wèi zhì kāi shǐ yóu nài tè lì xiān shēng suǒ dài tì。 zhè jiàn shì lián 'ài mǎ dōubù zhī dào。
ài mǎ zì jǐ zé kāi shǐ kǎo lǜ xuǎn qiū jí 'ěr zuò hā lǐ tè de zhàng fū。 bù guò tā jué dìng zì jǐ bù zài qù chū lì cuō hé zhè zhuāng hūn shì。 chū yú yī xì liè de wù jiě， ài mǎ yǐ wéi hā lǐ tè zài zàn yáng qiū jí 'ěr， qí shí hā lǐ tè zàn yáng de shì nài tè lì xiān shēng。
wéi sī dùn tài tài réng rán rèn wéi nài tè lì xiān shēng 'ài mù jiǎn fèi 'ěr fǎ kè sī， zhè jiù shǐ fēn fán bù qīng de yuān yāng pǔ gèng jiā cuò zōng fù zá。 ér nài tè lì xiān shēng zé jué chá dào jiǎn hé qiū jí 'ěr zhī jiān yǐ yòu mǒu zhǒng mì yuē。 nài tè lì xiān shēng de cāi yí hòu lái dé dào liǎo zhèng shí： qiū jí 'ěr xiàng wéi sī dùn fū fù chéng rèn tā hé jiǎn zài 10 yuè fèn jiù yǐ mì mì dìng hūn。 wéi sī dùn fū fù shǒu xiān xiǎng dào de shì 'ài mǎ。 tā men dān xīn qiū jí 'ěr duì 'ài mǎ de yīn qín jǔ dòng kě néng yǐ shǐ 'ài mǎ xiàn rù qíng wǎng。 dàn 'ài mǎ xiàng wéi sī dùn tài tài biǎo shì tā céng yī dù duì qiū jí 'ěr yòu diǎn hǎo gǎn， dàn zhè duàn jī yuán zǎo yǐ guò qù。 ài mǎ xiàn zài zhù yào dān xīn liǎng jiàn shì。 yī shì tā céng duì qiū jí 'ěr shuō guò yī xiē guān yú jiǎn de huà， rú guǒ tā zǎo zhī dào liǎng rén yǐ jīng dìng hūn， jué bù huì nà yàng zuò。 èr shì tā rèn wéi zì yǐ yòu yī cì gǔ dòng hā lǐ tè duò rù yī duàn bù néng chéng gōng de liàn qíng zhī zhōng。
kě shì， dāng 'ài mǎ wěi wǎn dì bǎ zhè gè xiāo xī tòu lù gěi hā lǐ tè shí， què fā xiàn hā lǐ tè bìng méi yòu yīn cǐ gǎn dào bù 'ān。 liǎng rén de tán huà zǒng shì shuō bù dào yī kuài， hòu lái 'ài mǎ zhōng yú dé zhī hā lǐ tè xiàn zài qīng xīn de bù shì qiū jí 'ěr， ér shì nài tè lì xiān shēng。 dāng hā lǐ tè gào sù 'ài mǎ tā yòu lǐ yóu xiāng xìn nài tè lì xiān shēng duì tā yě shì yǐ 'ài bào 'ài shí， ài mǎ cái tū rán yì shí dào zì jǐ nèi xīn de mì mì： tā běn rén 'ài de yě shì nài tè lì xiān shēng。 xiàn zài tā zhēn xī wàng zì jǐ cóng lái bù rèn shí hā lǐ tè shǐ mì sī。 chú liǎo zì jǐ xiǎng jià gěi nài tè lì xiān shēng zhī wài， tā hái míng bái， nài tè lì rú hé hā lǐ tè jié hé， bù dàn shì bù xiāngchèn de hūn pèi， ér qiě yě hěn nán dài lái xìng fú。
ài mǎ duì zhè yī shì tài de yōu lǜ bù jiǔ biàn gào jié shù： nài tè lì xiān shēng xiàng tā qiú hūn liǎo。 dàn tā de yuán mǎn xìng fú yě yòu měi zhōng bù zú。 tā zhī dào zì jǐ de hūn shì huì shǐ fù qīn hěn bù gāo xīng， yīn wéi lǎo rén bù yuàn shēng huó yòu sī háo de gǎi biàn。 ér qiě tā zài bù zhī bù jué zhōng yòu yī cì shǐ hā lǐ tè miàn lín shī wàng de dǎ jī。 ài mǎ hé nài tè lì xiān shēng jué dìng zhù zài hā tè fěi 'ěr dé， yī zhí péi bàn fù qīn dù guò wǎn nián。 zhè jiù jiě jué liǎo dì yī gè nán tí。 zhì yú hā lǐ tè， nài tè lì xiān shēng zhī suǒ yǐ duì tā guān zhù， shì yīn wéi tā què shí xiǎng diào chá qīng chǔ gū niàn duì tā de nián qīng diàn hù luó bó tè mǎ dīng shì fǒu réng yòu 'ài xīn。 jiēguǒ， nài tè lì xiān shēng zhōng yú zài yī tiān zǎo shàng xuān bù， luó bó tè mǎ dīng zài cì xiàng hā lǐ tè qiú hūn， bìng qiě bèi tā jiē shòu。 hā lǐ tè de qián tú yǐ dìng， ài mǎ zì rán shí fēn gāo xīng。 ài mǎ zǒng kě yǐ zhè yàng huí shǒu wǎng shì， tā zhōu wéi de rén quándōu mén dànghù duì dì hūn pèi chéng qīn， zhè cái shì tā men zhēn zhèng xìng fú de bì yào tiáo jiàn。
ài mǎ - zuò zhě jiǎn jiè
ào sī tīng (1775-1817)， 19 shì jì yīng guó zuì zǎo fā biǎo xiàn shí zhù yì xiǎo shuō de nǚ zuò jiā。 shēng yú yīng guó xiǎo xiāng zhèn shǐ dì wén dùn de yī gè mù shī jiā tíng， jīhū cóng wèi jiē shòu guò zhèng guī jiào yù， dàn yóu yú jiā tíng wén xué kōng qì xūn táo 'ér chéng wéi zhù míng zuò jiā。 qí zuò pǐn zhù yào miáo huì tā zài xiá xiǎo shēng huó juàn zǐ lǐ suǒ shú xī de zhōng chǎn jiē jí de jiā tíng shēng huó， qīng nián nán nǚ de liàn 'ài hūn yīn jí qí xīn tài， jù yòu guān chá xì zhì， rén wù kè huà wéi miào wéi xiào， píng lùn jiān kè děng yì shù tè sè。 20 suì zuǒ yòu kāi shǐ chuàng zuò， gòng fā biǎo 6 bù xiǎo shuō：《 lǐ zhì yǔ gǎn qíng》、《 ào màn yǔ piān jiàn》、《 màn sī fěi 'ěr dé huā yuán》、《 ài mǎ》、《 nuò sāng jué sì》、《 quàn dǎo》。 ào sī tīng zuì chū chuàng zuò shì wéi liǎo fǎn duì liú xíng xiǎo shuō。 hòu lái yòu fǎn yìng liǎo 18 shì jì mò 19 shì jì chū dāng shí wèi shòu zī běn zhù yì gōng yè gé mìng làng cháo chōng jī de yīng guó xiāng cūn zhōng chǎn jiē jí de rì cháng shēng huó chǎng jǐng， sǎo chú liǎo dāng shí xiǎo shuō chuàng zuò de yōng sú fēng qì， zài yīng guó xiǎo shuō fā zhǎn shǐ shàng qǐ dào liǎo chéng shàng qǐ xià de zuò yòng， tóng shí 'ào sī tīng yòu shì gōng rèn de miáo xiě fù nǚ yì shí de zhuó yuè zuò jiā。
ài mǎ - zuò pǐn píng jià
píng lùn jiā shuō：“《 ài mǎ》 kě néng shì 'ào sī dīng zuì chéng shú de zuò pǐn。” zhè bù zuò zhě shēng qián zuì hòu chū bǎn de xiǎo shuō， néng bèi guànyǐ rú cǐ gāo de píng jià， hěn dà chéng dù shàng yuán yú bǐ qǐ qí tā zuò pǐn lái， tā gèng wéi shēn rù quán miàn dì biǎo xiàn liǎo zuò zhě de shěn měi qíng qù yǔ chuàng zuò tài dù， èr zì gài kuò zhī， nà jiù shì“ wēn róu”。 ào sī dīng de shěn měi qíng qù zhuózhòng fǎn yìng zài nǚ xìng xíng xiàng de sù zào shàng。
dàn shì， ào sī dīng qiáng diào yī diǎn héng héng héng rè qíng bù děng yú jī qíng。 yī gè rè qíng de nǚ xìng kě yǐ shǐ shēng huó chōng mǎn qù wèi， gěi rén men yǐ kuài lè， dàn yī dàn rè qíng chāo guò liǎo xiàn dù， jí lǐ zhì kòng zhì de fàn wéi hòu， tā jiù huì tuì biàn chéng yòu hài de jī qíng。 fàn làn de jī qíng shǐ hā lì 'āi tè cháng jìn shī liàn de tòng kǔ； fěi 'ěr fèi kè sī yóu yú yī shí jī qíng fàn xià cuò wù， zuò wéi chéng fá， zài xiāng dāng cháng de shí jiān nèi“ yī kè yě méi yòu 'ān níng guò”； ài mǎ“ duì zì jǐ de měi yī zhǒng jī qíng dū jué dé xiū kuì”， tā shì nǚ zhù rén gōng xìng fú shēng huó zhōng jǐn yòu de nà yī diǎn kǔ nǎo de yuán tóu。 zài 'ào sī dīng yǎn lǐ， jī qíng shì fáng 'ài wán měi zuì zhòng yào de yīn sù zhī yī。 tuī chóng wēn róu de shěn měi qíng qù zhí jiē yǐng xiǎng liǎo 'ào sī dīng de chuàng zuò tài dù。 zuò zhě jiè 'ài mǎ zhī kǒu zhè yàng shuō：“ wǒ suī rán méi yòu zhè gè yōu diǎn héng héng héng dàn shì wǒ dǒng dé rú hé zhēn shì hé zūn zhòng tā”，《 ài mǎ》 de měi yī zì lǐ xíng jiān wú bù tòu lù chū 'ào sī dīng de zhēn chéng yǔ kuān hòu： bù kē qiú zì jǐ、 bù kē qiú bǐ xià rén wù、 bù kē qiú dú zhě héng héng héng jǐn jǐn píng zhe“ xīng qù hé 'àihào” lái miáo shù shēng huó， chuàng zuò duì yú tā lái shuō shì yī zhǒng rè qíng yáng yì、 qīng sōng zì rán de gǎn shòu lì chéng； tā duì tā sù zào de měi yī gè nǚ xìng dū bào zhe rè chén de xī wàng， dàn yòu wú bǐ kuān róng， suǒ yǐ cóng shěn měi yì yì shàng kàn， gè gèdōu rú tā miáo huì 'ài mǎ yī bān“ zuì hǎo de， jìn guǎn yòu nà xiē quē diǎn hái shì wán měi wú quē”； tā fù yú“ chá bēi lǐ de xiǎo fēng bō” jù dà de mèi lì， dàn yòu bù yào qiú dú zhě chén nì qí zhōng， gù cháng cháng dǎ pò“ dì sì dǔ qiáng”， tiào chū shū wài， ràng dú zhě yì shí dào zhè zhǐ shì gè xiǎng xiàng shì jiè。 suǒ yǐ zhì shǎo kě yǐ shuō， ào sī dīng huì chéng wéi dú zhě zuì qīn 'ài de péng yǒu。
ài mǎ - xiě zuò bèi jǐng
ài mǎ《 ài mǎ》
cóng 18 shì jì mò dào 19 shì jì chū， yōng sú wú liáo de“ gǎn shāng xiǎo shuō” hé“ gē tè xiǎo shuō” chōng chì yīng guó wén tán， ér 'ào sī tīng de xiǎo shuō pò jiù lì xīn， yī fǎn cháng guī dì zhǎn xiàn liǎo dāng shí shàng wèi shòu dào zī běn zhù yì gōng yè gé mìng chōng jī de yīng guó xiāng cūn zhōng chǎn jiē jí de rì cháng shēng huó hé tián yuán fēng guāng。 tā de zuò pǐn wǎng wǎng tōng guò xǐ jù xìng de chǎng miàn cháo fěng rén men de yú chǔn、 zì sī、 shì lì hé máng mù zì xìn děng kě bǐ kě xiào de ruò diǎn。 ào sī tīng de xiǎo shuō chū xiàn zài 19 shì jì chū yè， yī sǎo fēng xíng yī shí de jiǎ làng màn zhù yì cháo liú， jì chéng hé fā zhǎn liǎo yīng guó 18 shì jì yōu xiù de xiàn shí zhù yì chuán tǒng， wéi 19 shì jì xiàn shí zhù yì xiǎo shuō de gāo cháo zuò liǎo zhǔn bèi。 suī rán qí zuò pǐn fǎn yìng de guǎng dù hé shēn dù yòu xiàn， dàn tā de zuò pǐn rú“ liǎng cùn yá diāo”， cóng yī gè xiǎo chuāng kǒu zhōng kuī shì dào zhěng gè shè huì xíng tài hé rén qíng shì gù， duì gǎi biàn dāng shí xiǎo shuō chuàng zuò zhōng de yōng sú fēng qì qǐ liǎo hǎo de zuò yòng， zài yīng guó xiǎo shuō de fā zhǎn shǐ shàng yòu chéng shàng qǐ xià de yì yì， bèi yù wéi dì wèi“ kě yǔ suō shì bǐ yà píng qǐ píng zuò” de zuò jiā。
Before she began the novel, Austen wrote, "I am going to take a heroine whom no-one but myself will much like." In the very first sentence she introduces the title character as "Emma Woodhouse, handsome, clever, and rich." Emma, however, is also rather spoiled; she greatly overestimates her own matchmaking abilities; and she is blind to the dangers of meddling in other people's lives and is often mistaken about the meanings of others' actions.
Plot summary
Although convinced that she herself will never marry, Emma Woodhouse, a precocious twenty-year-old resident of the village of Highbury, imagines herself to be naturally gifted in conjuring love matches. After self-declared success at matchmaking between her governess and Mr. Weston, a village widower, Emma takes it upon herself to find an eligible match for her new friend, Harriet Smith. Though Harriet’s parentage is unknown, Emma is convinced that Harriet deserves to be a gentleman’s wife and sets her friend’s sights on Mr. Elton, the village vicar. Meanwhile, Emma persuades Harriet to reject the proposal of Robert Martin, a well-to-do farmer for whom Harriet clearly has feelings.
Harriet becomes infatuated with Mr. Elton under Emma’s encouragement, but Emma’s plans go awry when Elton makes it clear that his affection is for Emma, not Harriet. Emma realizes that her obsession with making a match for Harriet has blinded her to the true nature of the situation. Mr. Knightley, Emma’s brother-in-law and treasured friend, watches Emma’s matchmaking efforts with a critical eye. He believes that Mr. Martin is a worthy young man whom Harriet would be lucky to marry. He and Emma quarrel over Emma’s meddling, and, as usual, Mr. Knightley proves to be the wiser of the pair. Elton, spurned by Emma and offended by her insinuation that Harriet is his equal, leaves for the town of Bath and marries a young woman there almost immediately.
Emma is left to comfort Harriet and to wonder about the character of a new visitor expected in Highbury—Mr. Weston’s son, Frank Churchill. Frank is set to visit his father in Highbury after having been raised by his aunt and uncle in London, who have also adopted him as their heir. Emma knows nothing about Frank, who has long been deterred from visiting his father by his aunt’s illnesses and complaints. Mr. Knightley is immediately suspicious of the young man, especially after Frank rushes back to London merely to have his hair cut. Emma, however, finds Frank delightful and notices that his charms are directed mainly toward her. Though she plans to discourage these charms, she finds herself flattered and engages in a flirtation with the young man. Emma greets Jane Fairfax, another addition to the Highbury set, with less enthusiasm. Jane is beautiful and accomplished, but Emma dislikes her because of her reserve and, the narrator insinuates, because she is jealous of Jane.
Suspicion, intrigue, and misunderstandings ensue. Mr. Knightley defends Jane, saying that she deserves compassion because, unlike Emma, she has no independent fortune and must soon leave home to work as a governess. Mrs. Weston suspects that the warmth of Mr. Knightley’s defense comes from romantic feelings, an implication Emma resists. Everyone assumes that Frank and Emma are forming an attachment, though Emma soon dismisses Frank as a potential suitor and imagines him as a match for Harriet. At a village ball, Knightley earns Emma’s approval by offering to dance with Harriet, who has just been humiliated by Mr. Elton and his new wife. The next day, Frank saves Harriet from Gypsy beggars. When Harriet tells Emma that she has fallen in love with a man above her social station, Emma believes that she means Frank. Knightley begins to suspect that Frank and Jane have a secret understanding, and he attempts to warn Emma. Emma laughs at Knightley’s suggestion and loses Knightley’s approval when she flirts with Frank and insults Miss Bates, a kindhearted spinster and Jane’s aunt, at a picnic. When Knightley reprimands Emma, she weeps.
News comes that Frank’s aunt has died, and this event paves the way for an unexpected revelation that slowly solves the mysteries. Frank and Jane have been secretly engaged; his attentions to Emma have been a screen to hide his true preference. With his aunt’s death and his uncle’s approval, Frank can now marry Jane, the woman he loves. Emma worries that Harriet will be crushed, but she soon discovers that it is Knightley, not Frank, who is the object of Harriet’s affection. Harriet believes that Knightley shares her feelings. Emma finds herself upset by Harriet’s revelation, and her distress forces her to realize that she is in love with Knightley. Emma expects Knightley to tell her he loves Harriet, but, to her delight, Knightley declares his love for Emma. Harriet is soon comforted by a second proposal from Robert Martin, which she accepts. The novel ends with the marriage of Harriet and Mr. Martin and that of Emma and Mr. Knightley, resolving the question of who loves whom after all.
Principal characters
Emma Woodhouse, the protagonist of the story, is a beautiful, high-spirited, intelligent, and 'slightly' spoiled young woman of 21. Her mother died when she was very young, and she has been mistress of the house ever since, certainly since her older sister got married. While she is in many ways mature for her age, Emma makes some serious mistakes, mainly due to her conviction that she is always right and her lack of real world experience. Although she has vowed she will never ever marry, she delights in making matches for others. She seems unable to fall in love, until jealousy makes her realize that she has loved Mr Knightley all along.
Mr George Knightley, about 37 or 38. He is a close friend of Emma, and her only critic, though he cares deeply for her. Mr Knightley is the owner of the neighbouring estate of Donwell, which includes extensive grounds and a farm. He is the elder brother of Mr John Knightley—the husband of Emma's elder sister Isabella. Mr Knightley is very annoyed with Emma for persuading Harriet to turn down Mr Martin, thinking that the advantage is all on Harriet's side; he also warns Emma against matchmaking Harriet with Mr Elton, correctly guessing that Mr Elton has a much higher opinion of himself. He is suspicious of Frank Churchill and his motives; although his suspicion turns out to be based mainly on jealousy of the younger man, his instincts are proven correct by the revelation that Frank Churchill is not all that he seems.
Mr Frank Churchill, Mr Weston's son by his previous marriage, an amiable young man who manages to be liked by everyone except Mr Knightley, who considers him quite immature, although this partially results from his jealously of Frank's supposed 'pursuit' of Emma. After his mother's death he was raised by his wealthy aunt and uncle, whose last name he took. Frank enjoys dancing and music and living life to the fullest. Frank may be viewed as a careless but less villainous version of characters from other Austen novels, such as Mr Wickham from Pride and Prejudice or Willoughby from Sense and Sensibility.
Jane Fairfax, an orphan whose only family consists of an aunt, Miss Bates, and a grandmother, Mrs Bates. She is regarded as a very beautiful, clever, and elegant woman, with the best of manners, and is also very well-educated and exceptionally talented at singing and playing the piano; in fact, she is the sole person that Emma envies. She has little fortune, however, and seems destined to become a governess – a prospect she dislikes.
Harriet Smith, a young friend of Emma's, is a very pretty but unsophisticated girl who is too easily led by others, especially Emma; she has been educated at a nearby school. The illegitimate daughter of initially unknown parents, she is revealed in the last chapter to be the daughter of a fairly rich and decent tradesman, although not a "gentleman". Emma takes Harriet under her wing early in the novel, and she becomes the subject of some of Emma's misguided matchmaking attempts. Harriet initially rebuffs a marriage proposal from farmer Robert Martin because of Emma's belief that he is beneath her, despite Harriet's own doubtful origins. She then develops a passion for Mr Knightley, which is the catalyst for Emma realising her own feelings. Ultimately, Harriet and Mr Martin are wed, despite Emma's meddling.
Philip Elton is a good-looking, well mannered and ambitious young vicar. Emma wants him to marry Harriet; he wants to marry Emma. Mr Elton displays his mercenary nature by quickly marrying another woman of means after Emma's rejection.
Augusta Elton, formerly Miss Hawkins, is Mr Elton's moneyed but obnoxious wife. She is a boasting, domineering, pretentious woman who likes to be the centre of attention and is generally disliked by Emma and her circle. She patronizes Jane, which earns Jane the sympathy of others.
Mrs Anne Weston, formerly Miss Taylor, was Emma's governess for sixteen years and remains her closest friend and confidante after she marries Mr Weston in the opening chapter. She is a sensible woman who adores Emma. Mrs Weston acts as a surrogate mother to her former charge and, occasionally, as a voice of moderation and reason.
Mr Weston, a recently wealthy man living in the vicinity of Hartfield. He marries Emma's former governess, Miss Taylor, and by his first marriage is father to Frank Churchill, who was adopted and raised by his late wife's brother and sister-in-law. Mr Weston is a sanguine, optimistic man, who enjoys socializing.
Miss Bates, a friendly, garrulous spinster whose mother, Mrs Bates, is a friend of Mr Woodhouse. Her accomplished niece, Jane Fairfax, is the light of her life. One day, Emma humiliates her on a day out in the country, when she pointedly alludes to her tiresome prolixity. Afterward, Mr Knightley sternly rebukes Emma. Shamed, she tries to make amends.
Mr Henry Woodhouse, Emma's father, is always concerned for his own health and that of his friends, to the point of trying to deny his visitors foods he thinks too rich. He laments that "poor Isabella" and "poor Miss Taylor" have married and been taken away from him.
Isabella Woodhouse is the elder sister of Emma and daughter of Henry. She is married to John Knightley.
John Knightley is Isabella's husband and George's younger brother. He is an old acquaintance of Jane Fairfax.
Criticism and themes
Emma Woodhouse is the first Austen heroine with no financial concerns, which, she declares to the naïve Miss Smith, is the reason that she has no inducement to marry. This is a great departure from Austen's other novels, in which the quest for marriage and financial security are two of several themes in the stories. Emma's ample financial resources are one of the factors that make this novel much lighter than Austen's earlier works, such as Sense and Sensibility and Pride and Prejudice. Jane Fairfax's prospects, in contrast, are bleak.
In contrast to other Austen heroines Emma seems immune to romantic attraction . Unlike Marianne Dashwood, who is attracted to the wrong man before she settles on the right one, Emma shows no romantic interest in the men she meets. She is genuinely surprised (and somewhat disgusted) when Mr Elton declares his love for her—much in the way Elizabeth Bennet singularly reacts to the obsequious Mr Collins. Her fancy for Frank Churchill represents more of a longing for a little drama in her life than a longing for romantic love. Notably too, Emma utterly fails to understand the budding affection between Harriet Smith and Robert Martin; she interprets the prospective match solely in terms of financial settlements and social ambition. It is only after Harriet Smith reveals her interest in Mr Knightley that Emma realizes her own feelings for him.
While Emma differs strikingly from Austen's other heroines in these two respects, she resembles Elizabeth Bennet and Anne Elliot, among others, in another way: she is an intelligent young woman with too little to do and no ability to change her location or everyday routine. Though her family is loving and her economic status secure, Emma's everyday life is dull indeed; she has few companions her own age when the novel begins. Her determined though inept matchmaking may represent a muted protest against the narrow scope of a wealthy woman's life, especially that of a woman who is single and childless.
Film and television adaptations
Emma has been the subject of many adaptations:
* 1948: Emma
* 1972: Emma (BBC 1972 television), starring Doran Godwin as Emma.
* 1995: Clueless (a loose modern adaptation), starring Alicia Silverstone as Cher Horowitz (Emma).
* 1996: Emma, starring Gwyneth Paltrow as Emma.
* 1996: Emma, starring Kate Beckinsale as Emma.
* 2009: Emma, starring Romola Garai as Emma.
* 2010: Aisha, starring Sonam Kapoor as Aisha (Emma - Hindi language Version), produced by Rhea Kapoor
nuò lán zhuāng yuán de zhù rén qù shì liǎo， àn zhào jiā zú cái chǎn bù néng fēn gē de chuán tǒng， bǎ jīhū suǒ yòu cái chǎn dū gěi 'ér zǐ yuē hàn jì chéng， ér sān gè nǚ 'ér hé qī zǐ zhǐ néng dé dào hěn shǎo de yī diǎn shēng huó fèi yòng。 zài qī zǐ fēn nī de yī lì zhù zhāng xià， yuē hàn zhú bù bǎ sì gè nǚ rén gǎn chū liǎo zhuāng yuán。 fēn nī de dì dì 'ài dé huá lái zhuāng yuán xiǎo zhù， ài shàng liǎo sān jiě mèi zhōng de dà jiě 'ài lín nà， dàn hěn kuài bèi kàn chū miáo tóu de fēn nī chāi sàn。
sì gè nǚ rén zū liǎo yuē hàn jué shì de xiǎo wū jū zhù， jué shì de yuè mǔ xià luò tè xǐ huān zhè sān jiě mèi， bìng shì tú bǎ yī gè yòu qián de dān shēn guì zú bù lán dēng shàng xiào jiè shào gěi 'ài lín nà， ér bù lán dēng què 'ài shàng liǎo 'èr mèi mǎ lì 'ān。
zài yī cì fēng yǔ zhōng， mǎ lì 'ān niǔ shāng liǎo jiǎo huái， yī gè yīng jùn de mò shēng nán shì zhù dòng bāng máng， bǎ mǎ lì 'ān bào huí jiā zhōng， mǎ lì 'ān 'ài shàng liǎo zhè gè jiào yuē hàn · wèi lè bǐ de nián qīng rén。
bù lán dēng hái shì duì mǎ lì 'ān jǐn zhuī bù fàng， tè yì zhào kāi liǎo yī cì zhuāng yuán jù huì。 dàn zài huì shàng， yī fēng lái zì lún dūn de xìn ràng bù lán dēng lì jí fēi mǎ lí qù。 dì 'èr tiān， wèi lè bǐ tū rán lái xiàng mǎ lì 'ān cí xíng， yán cí shǎn shuò， mǎ lì 'ān shí fēn shāng xīn。
zài xià luò tè chù， yī gè jiào lù qiàn de nǚ hái gào sù 'ài lín nà， tā hé 'ài dé huá yǐ jīng sī dìng zhōng shēn yòu wǔ nián zhī jiǔ liǎo， ài lín nà 'àn zì shāng xīn zhī jì hái shì bù wàng tì tā bǎo shǒu mì mì。 xià luò tè kàn mǎ lì 'ān shāng xīn， jué dìng dài jǐ gè nǚ hái zǐ dào lún dūn qù guò shè jiāo jì jié。
mǎ lì 'ān jiàn dào liǎo wèi lè bǐ， què dé zhī tā yào hé gài xiǎo jiě jié hūn， mǎ lì 'ān bēi tòng yù jué。 xià luò tè hé bù lán dēng gào sù tā men， wèi lè bǐ yīn wéi jí jiāng pò chǎn， ér zhǐ néng hé shēn jià 5 wàn yīng bàng de gài xiǎo jiě jié hé， zài cǐ zhī qián hái bǎ bù lán dēng de sī shēng nǚ yí qì liǎo。 dàn bù lán dēng yě yǐ shēn shì de tài dù biǎo míng， wèi lè bǐ duì mǎ lì 'ān hái shì zhēn xīn xǐ huān de。
ài dé huá lái zhǎo 'ài lín nà， què yù dào liǎo lù qiàn， yī shí hěn shì gān gà， zhǐ néng tuō cí chū mén。 fēn nī duì 'ài dé huá hé lù qiàn de hūn shì shí fēn bù mǎn， dàn 'ài dé huá xìn shǒu nuò yán， fàng qì suǒ yòu yí chǎn， hái shì yào duì lù qiàn fù zé。 bù lán dēng lái zhǎo 'ài lín nà， yuàn yì wéi 'ài dé huá hé lù qiàn jìn lì， wěi tuō 'ài lín nà zhuǎn gào。 ài lín nà míng zhī huì bǎ 'ài rén sòng rù bié rén de huái bào， hái shì rú shí zhuǎn gào liǎo 'ài dé huá。
yī duì shāng xīn jiě mèi huí dào liǎo bù lán dēng de zhuāng yuán， mǎ lì 'ān dào shān shàng yuǎn wàng wèi lè bǐ de， zài dà yǔ zhōng hūn dǎo， bù lán dēng bǎ tā bào huí jiā zhōng。 rǎn shàng rè bìng de mǎ lì 'ān zhōng yú yòu suǒ hǎo zhuǎn， bù lán dēng yǐ jīng lián yè bǎ tā de mǔ qīn jiē lái kàn tā， mǎ lì 'ān bèi bù lán dēng shēn shēn gǎn dòng liǎo。
ài lín nà hái zài wéi 'ài dé huá shāng xīn， ér 'ài dé huá què chū xiàn zài tā miàn qián。 yuán lái， lù qiàn hé 'ài dé huá de dì dì yī jiàn zhōng qíng， ài dé huá yě zhèng hǎo dé yǐ huí dào 'ài lín nà shēn biān， ài lín nà bèi zhè gè tū rán de jiēguǒ nòng dé dāng chǎng dà kū。
zhōng yú yòu qíng rén zhōng chéng juàn shǔ， liǎng jiě mèi tóng shí jǔ xíng liǎo hūn lǐ。 yuǎn fāng de shān pō shàng， wèi lè bǐ diào zhuǎn mǎ tóu jí bēn 'ér qù。
“ nǐ shí jiàn liǎo nǐ de chéng nuò， zhè bǐ shénme dū zhòng yào。” ài lín nà duì 'ài dé huá shuō。
ài dé huá bù dé bù duì 5 nián qián de yī gè guò shí de chéng nuò fù zé， ài lín nà bù dé bù zūn zhòng zhè gè chéng nuò， liǎng gè xiāng 'ài de rén què bù dé bù fēn lí。 rú guǒ huàn yī gè rén lái dǎo yǎn zhè bù yǐngpiān， duì yú nuò yán de shù fù wèi bì yòu lǐ 'ān zhè yàng shēn kè de rèn shí hé tǐ huì。 zhè shì rén xìng zhōng zuì bǎo guì de bù fēn， zài dōng xī fāng yǐ bù tóng de míng yì hé xíng shì cún zài。 zhè shì yī zhǒng“ yòu suǒ bùwèi， yòu suǒ bì wéi” de jīng shén， tā gù rán shì dōng fāng chuán tǒng lún lǐ dào dé duì“ jūn zǐ” de yuē shù， yě shì xī fāng chuán tǒng duì“ shēn shì” de yào qiú， lǐ 'ān zài zhè lǐ zhǎo dào liǎo dōng xī fāng chuán tǒng měi dé de qì hé diǎn。 zài zhè yī diǎn shàng shuō， zhè shèn zhì hé《 wò hǔ cáng lóng》 de mǒu xiē jīng shén xiāng yī zhì。 ér tóng yàng de， duì zhè zhǒng měi dé de zàn sòng， bì rán huì yǐn chū rén zài shì jiè shàng suǒ shòu de shù fù。
zuì hòu de dà tuán yuán jié wěi shì lìng rén shū chàng de， tā men de huān lè shì yóu zhōng de、 méi yòu yī diǎn yīn yǐng de。 tā men měi gè réndōu jìn liǎo zì jǐ de běn fēn： xìn shǒu nuò yán， yě zūn zhòng bié rén xìn shǒu nuò yán， tā men de liáng xīn shì píng 'ān de。 ér yuǎn chù shān pō shàng de wèi lè bǐ， xīn zhōng bì dìng shòu zhe wú bǐ tòng kǔ de jiān 'áo。 suī rán zhè shì gè guò yú lǐ xiǎng de jié jú， yòu jiào huì shì rén de yòng yì， dàn qí zhōng de xìn niàn què shì jiān dìng de。
yīng guó xiǎo shuō jiā 1795 nián yòng bǐ jiǎng guò de gù shì， liǎng bǎi nián hòu de jīn tiān yóu yī wèi huá rén dǎo yǎn zài yín mù shàng zhòng xīn yǎn yì liǎo yī fān。
《 lǐ zhì yǔ qíng gǎn》 - mù hòu huā xù
jiǎn · ào sī dīng jué bù ràng nǐ dà xǐ dà bēi， tā piān zhòng sǎnwén shì de qíng qù hé nǚ xìng huà de ruì zhì。 lǐ 'ān de zhí dǎo hé 'ài mǎ · tānɡ mǔ xùn de biān jù wéi gāi piàn chā shàng liǎo chì bǎng。 yǐngpiān jié zòu bǎ wò dé dāng， xì jié shū mì tuǒ tiē， měi chǎng xì de qǔshě hé cháng dù dū fēi cháng diàn yǐng huà。 huò bólín jīn xióng jiǎng。 gāi jù zài 1985 nián céng jīng yòu guò yī gè BBC de diàn shì bǎn， cháng 174 fēn zhōng。
lǐ 'ān tán zhōng wén piàn míng
wǒ jué dé yán gé lái jiǎng， yīnggāi fān yì chéng《 zhī xìng yǔ gǎn xìng》， zhī xìng bāo kuò gǎn xìng， tā bìng fēi zhǐ xiàn yú yī gè lǐ xìng、 yī gè gǎn xìng de jié rán 'èr miàn， ér shì zhī xìng lǐ miàn gǎn xìng de tǎo lùn。 suǒ yǐ xì zì rán luò dào 'ài mǎ · tānɡ pǔ sēn shēn shàng， lǐ xìng de jiě jiě dé dào yī gè zuì làng màn de jié jú， mèi mèi zé duì gǎn xìng yòu liǎo lǐ xìng de rèn shí， tā zhī suǒ yǐ dòng rén yuán yīn zài cǐ， bìng fēi jiě jiě lǐ xìng、 mèi mèi gǎn xìng de bǐ jiào， huò shuí shì shuí fēi。 rén shì yī gè yòu jī de zhěng tǐ， shí fēn de fù zá wēi miào， zhè yǔ zhōng guó de“ yīn yáng” xiāng tōng， měi yàng dōng xī dōuyòu gè shuāng miàn xìng， qí shí xǔ duō xī fāng rén hái bù jiàn dé róng yì tǐ huì dào jiǎn · ào sī tīng de liǎng miàn xìng， fǎn dǎo shì zhōng guó rén róng yì yī diǎn jiù tōng。 zhè gè guān niàn yǔ zhōng guó de“ yīn yáng” jié hé， duì wǒ zhī hòu pāi shè《 wò hǔ cáng lóng》 yǐ jí gòu sī《 lǜ jù rén》 dōuyòu yǐng xiǎng。
· piàn zhōng yuán běn yòu yīcháng xiū · gé lán tè hé 'ài mǎ · tānɡ pǔ sēn de wěn xì， dàn hòu lái bèi shān diào liǎo， yīn wéi tānɡ pǔ sēn xiě zhè gè chǎng miàn jǐn jǐn shì yīn wéi tā xiǎng wěn xiū · gé lán tè。
· jù 'ài mǎ · tānɡ pǔ sēn huí yì， dāng pāi shè piàn zhōng bù lán dēng shàng xiào ( ài lún · ruì kè màn， tā hái yǎn guò《 hā lì bō tè》 lǐ de sī nèi pǔ jiào shòu ) qí mǎ zǒu jìn 'āi lì nuò hé mǎ lì 'ān shí， hěn duō cì de pāi shè dōubèi mǎ gěi jiǎo huài liǎo。 yīn wéi nà pǐ kě lián de mǎ dé liǎo wèi zhàng qì …… hòu lái tóng qī shēng jīng guò chǔlǐ qù diào liǎo nà xiē fàng pì de shēng yīn。
· jù zǔ rén yuán bù dé bù jīng cháng gēn yīng guó nà biàn huàn mò cè de tiān qì zuò dǒu zhēng。
· diàn yǐng shì 4 yuè 19 rì kāi pāi de， ér 'ài lún · ruì kè màn 5 yuè 1 rì cái jiā rù jù zǔ， tā dì yī tiān shàng xì , què chū xiàn zài diàn yǐng de zuì hòu yī gè jìng tóu， wán quán yī tóu wù shuǐ。
· dāng gē lún bǐ yà gōng sī bǎ 'ài mǎ · tānɡ pǔ sēn de jù běn ná gěi lǐ 'ān shí， tā hái cóng méi dú guò rèn hé yī běn jiǎn · ào sī tīng de xiǎo shuō。
·《 lǐ zhì yǔ qíng gǎn》 shì lǐ 'ān dì yī cì pāi dà lián méng de piānzǐ， dì yī cì hé zhēn zhèng de míng xīng hé zuò， yě shì dì yī cì hé rú cǐ zhuān yè chéng shú de bān dǐ hé zuò。 tā bù jǐn yào hé yǎn yuán dǒu， hái yào gēn shè yǐng dǒu， měi gè réndōu shì xué fù wǔ chē、 yuè lì guò rén、 líng yá lì chǐ de， yòng tā de huà jiǎng：“ wǒ yī zhí zài ‘ zhèng ’ wǒ de quán wēi”。
《 lǐ zhì yǔ qíng gǎn》 - méi tǐ bào dào
lǐ zhì zhàn shèng qíng gǎn？ xiàn shí gāo yú mèng huàn？《 lǐ zhì yǔ qíng gǎn》 piāo yǔ tiān hǎi fā bù yú： 2007-11-3022:44
yǐngpiān shì yóu shì jiè míng zhù jiǎn - ào sī dīng de tóng míng xiǎo shuō gǎi biān 'ér chéng， tā yán xí liǎo yuán xiǎo shuō de zhù tí。 shēng huó zhōng， wǒ men miǎn bù liǎo lǐ zhì yǔ qíng gǎn de juézhú， bù guǎn nà fāng shèng chū， bù guǎn shì tài de fā zhǎn zěn yàng yìn zhèng wǒ men dāng shí de jué dìng， dōuhěn nán shuō nà gè gēngzhèng què， nà gè gèng hé hū qíng lǐ。 zhè shì yǒng héng de máo dùn， zài 'ài qíng shàng de biǎo xiàn yóu wéi tū chū， yīn cǐ， suī rán yǐngpiān de bèi jǐng shì jī yú 18 shì jì de 'ōu zhōu， dàn zài wǒ men guān yǐng shí， yǐ rán bù huì jué dé mò shēng hé yáo yuǎn。
“ xìng gé yǔ mìng yùn duān shì， rǔ zhī zì jué 'ér kāi qǐ”
mèi mèi zhāng yáng 'ér yòu bēn fàng， cóng lái bù yǎn gài zì jǐ de gǎn qíng。 tā zuì xǐ huān suō jù de yī duàn tái cí， bìng qiě zài yín sòng de shí hòu， yě yī dìng yào chōng mǎn jī qíng， shèn zhì bù néng róng rěn 'ài dé huá nà sǐ qì chén chén lǎng dú“ shuō biàn xīn jiù biàn xīn， zěn néng suàn shì 'ài？ ài shì yǒng héng de yìn jì， zòng shì kuáng fēng bào yǔ， yě yǒng bù tuì sè。”
jiě jiě wěn zhòng 'ér yòu jīn chí， jí shǐ nèi xīn xiōng yǒng péng pài， què yǐ rán píng jìng 'ān xiáng。
zhè liǎng gè xìng gé jiǒng yì de jiě mèi， yī gè dài biǎo liǎo lǐ zhì， yī gè dài biǎo liǎo qíng gǎn， dāng 'ài qíng dào lái shí， huì yòu zěn yàng de mìng yùn？
cóng liǎng jiě mèi de gǎn qíng mìng yùn lái kàn， běn piàn sì hū gào sù wǒ men“ lǐ zhì zhàn shèng qíng gǎn， xiàn shí gāo yú mèng huàn。” dàn zhè zhōng jiū hái shì yīcháng méi yòu dìng lùn de zhēng fēng。 nǐ wǒ zhǐ néng gēn jù zì jǐ de xìng gé， zhǎo dào shǔ yú zì jǐ de píng héng diǎn bā？
mèi mèi zài jīng lì liǎo shēng yú sǐ de xǐ lǐ hòu， zhǎo dào liǎo lǐ zhì yǔ qíng gǎn de píng héng diǎn， xiàn shí zǒng bù xiàng mèng huàn zhōng nà me měi lì， suō wēng de shī jù huò zhě zhǐ néng shì shī jù bā？
jiě jiě zài cháng shí jiān de yā yì hòu， shì qíng gǎn de bèng fā。 wǒ hěn xǐ huān EmmaThompson zài yǐngpiān mò wěi zhè duàn nán yǐ zì zhì de tòng kū de biǎo yǎn， bǎ yī zhí yǐ lái nèi xīn shì jiè lǐ zhì yǔ qíng gǎn de jiāo fēng tuī xiàng liǎo dǐng diǎn。 méi yòu liǎo mèng huàn， méi yòu liǎo qíng gǎn， wǒ men yào lǐ zhì yòu yòu hé yòng？
běn piàn yóu huá yì dǎo yǎn lǐ 'ān zhǐ dǎo， yǐng hòu EmmaThompson biān jù bìng shì yǎn jiě jiě， Hughgrant yī gǎi yǐ wǎng xǐ jù xǐ lù， biàn chéng yīng jùn de gǔ diǎn wáng zǐ， shì yǎn 'ài dé huá。 Katewinslet（ tài tǎn ní kè nǚ zhùjué） shì yǎn mèi mèi。 jīng zhàn de biǎo yǎn， bǎ rén wù xìng gé kè huà de xiāng dāng dào wèi。 lǐ zhì yǔ qíng gǎn， jiān dé hái shì qǔshě？
《 lǐ zhì yǔ qíng gǎn》 - xiāng guān píng lùn
lǐ 'ān de《 lǐ zhì yǔ qíng gǎn》 yī rú tā yī guàn de diàn yǐng fēng gé， tū chū biǎo xiàn de shì rén yǔ rén zhī jiān de zhēn qíng shí gǎn。
jiě jiě 'ài lín nà shì lǐ xìng de dài biǎo， tā duì yú suǒ yòu de yī qiēdōu chǔlǐ dé hěn shí dà tǐ， ér mèi mèi mǎ lì 'ān zé shì gǎn xìng de dài biǎo， tā jiān xìn 'ài qíng shì rè qíng rú huǒ de。 ài dé huá de dào lái dǎ kāi liǎo 'ài lín nà cóng wèi kāi qǐ guò de xīn mén， kě shì lǐ xìng de tā shǐ zhōng dū kè zhì zhe zì jǐ de gǎn qíng， lǐ xìng de jiāo tán， lǐ xìng de wēi xiào， yú shì， ài dé huá yǐ wéi tā duì tā zhǐ shì yǒu qíng， jiā zhī yǐ yòu hūn yuē zài shēn， liǎng rén bèi pò fēn kāi， méi yòu rèn hé chéng nuò。 zài bān qù bā dùn xiǎo wū zhī hòu， bù lāi dēng shàng xiào de chū xiàn bìng méi yòu dǎ dòng mǎ lì 'ān de fāng xīn， tā 'ài shàng liǎo fēng liú tì tǎng de wēi lè bǐ， tǐ yàn zhe tā suǒ xiàng wǎng de rè qíng rú huǒ de 'ài qíng。 rán 'ér， shì qíng jiù shì zhè yàng de yīn chā yáng cuò， jiù zài wēi lè bǐ zhǔn bèi qiú hūn de nà tiān， fā shēng liǎo yī diǎn yì wài， tā miàn duì shēn wú fēn wén de jiǒng jìng， zhōng yú xiàng xiàn shí tuǒ xié， qì mǎ lì 'ān yú bù gù， yíng qǔ liǎo shēn jià bù fěi de fù jiā nǚ。“ shuō biàn xīn jiù biàn xīn， nǎ néng suàn shì 'ài…… ài shì yǒng bù tuì sè de yìn jì。” céng jīng de shān méng hǎi shì yóu zài yǎn qián， ér sī rén bù zài。 mǎ lì 'ān zhōng yú bù zhī bìng dǎo。 ér bù lāi dēng shàng xiào què zì shǐ zhì zhōng dōubù céng lí kāi， yīn wéi céng jīng shī qù， suǒ yǐ dǒng dé zhēn xī。 ér mǎ lì 'ān qīng xǐng hòu de yī jù“ xiè xiè”， suǒ yòu de fù chū dū zhí dé liǎo。 gǎn xìng de tā zhōng yú míng bái， zhǐ yòu píng dàn de gǎn qíng cái néng gòu xì shuǐ cháng liú。 ér 'ài lín nà ní， zì cóng bān qù bā dùn xiǎo wū zhī hòu， tā wú shí wú kè bù zài qī dài zhe yǔ 'ài dé huá de chóngféng， kě huàn lái de què shì yī cì cì de shī wàng， yóu qí shì lù qiàn de chū xiàn。 rú guǒ shuō gāng kāi shǐ tā hái bàn xìn bàn yí de huà， nà me dāng lù qiàn ná zhe nà kuài xiù zhe“ ELF” de shǒu pà zài nà mǒ yǎn lèi de shí hòu， tā wán quán chù zài bēng kuì de biān yuán。 tā de xīn lǐ yòu zhe wú xiàn de tòng kǔ， què bù néng yán shuō， hái dé dà duódì bāng zhù 'ài dé huá hé lù qiàn kāi shǐ xīn shēng huó。 rán 'ér， xì jù xìng de yī mù zài cì chū xiàn， lù qiàn 'ài shàng liǎo 'ài dé huá de dì dì luó bó， yú shì， ài dé huá huī fù liǎo zì yóu zhī shēn， dāng tā gào sù 'ài lín nà tā méi yòu jié hūn de xiāo xī shí， ài lín nà zhōng yú bù zài yā yì zì jǐ de gǎn qíng， shī tài dì dà kū， tā yā yì dé tài jiǔ liǎo， dōuyǐ jīng má mù liǎo， què zài zhè tū rú qí lái de xìng fú miàn qián zhǎn xiàn liǎo zì jǐ zuì zhēn shí de yī miàn。 gù shì de jié wěi shì jiē dà huān xǐ de， lǐ xìng de 'ài lín nà hé gǎn xìng de mǎ lì 'ān dū gè zì zhǎo dào liǎo shǔ yú zì jǐ de xìng fú， zhǐ liú xià wēi lè bǐ yī gè rén zài nà lǐ quán héng dào dǐ shì 'ài qíng zhòng yào hái shì jīn qián zhòng yào， dàn wú lùn shì shénme jiēguǒ， tādōu yǐ jīng zuò chū liǎo xuǎn zé， jì rán zuò liǎo xuǎn zé jiù bì xū wéi zì jǐ de xíng wéi fù zé。
lǐ xìng hái shì gǎn xìng， zhè shì yī gè wèn tí， xìng fú de zhēn dì zài yú jiù zuò nǐ zì jǐ。 dú yī wú 'èr de nǐ yī dìng huì shōu huò dú yī wú 'èr de xìng fú。
The story revolves around Elinor and Marianne, two daughters of Mr. Dashwood by his second wife. They have a younger sister, Margaret, and an older half-brother named John. When their father dies, the family estate passes to John, and the Dashwood women are left in reduced circumstances. The novel follows the Dashwood sisters to their new home, a cottage on a distant relative's property, where they experience both romance and heartbreak. The contrast between the sisters' characters is eventually resolved as they each find love and lasting happiness. Through the events in the novel, Elinor and Marianne find a balance between sense (or pure logic) and sensibility (or pure emotion) in life and love.
The book has been adapted for film and television a number of times, including a 1981 serial for TV directed by Rodney Bennett; a 1995 movie adapted by Emma Thompson and directed by Ang Lee; a version in Tamil called Kandukondain Kandukondain released in 2000; and a 2008 TV series on BBC adapted by Andrew Davies and directed by John Alexander.
Plot summary
When Mr. Dashwood dies, his estate - Norland Park - passes directly to John, his only son, and child of his first wife. Mrs. Dashwood, his second wife, and their daughters, Elinor, Marianne and Margaret, are left only a small income.
On his deathbed, Mr. Dashwood had asked John to promise to take care of his half-sisters but John's selfish and greedy wife, Fanny, soon persuades her weak-willed husband that he has no real financial obligation in the matter, and he gives the girls and their mother nothing. John and Fanny move into Norland immediately on the death of Mr Dashwood and take up their place as its new owners. The Dashwood women, now treated as rather unwelcome guests in what was their home, begin looking for another place to live - a difficult task because of their small income.
Fanny's brother, Edward Ferrars, a pleasant, unassuming, intelligent but reserved young man, comes to Norland for a visit. He and Elinor are clearly attracted to each other and Mrs. Dashwood cherishes hopes that they will marry. Fanny makes it clear that their mother, Mrs. Ferrars, a wealthy widow, wants her son to make a career for himself and to marry a woman of high rank or great estate, if not both, and offended with the ill-disguised hint, Mrs. Dashwood indignantly resolves to remove her residence as quickly as possible. Although Edward is attentive to Elinor, his reserved behaviour makes it difficult for her to guess his intentions. Elinor does not encourage her relatives to hope for the marriage, although in her heart of hearts she secretly hopes for it.
One of Mrs. Dashwood's cousins, the wealthy Sir John Middleton, offers her a cottage on his Devonshire estate, Barton Park, and Mrs. Dashwood decides to accept. She and the girls find it tiny and dark compared to Norland, but try to make the best of it. They are warmly received by Sir John, who insists that they dine with him and his wife frequently at the great house of Barton Park and join the social life of his family. Also staying with Sir John and his reserved and insipid wife is his mother-in-law Mrs. Jennings, a rich and rather vulgar widow who is full of kindness and good humour and who immediately assigns herself the project of finding husbands for the Dashwood girls.
While visiting Sir John, the Dashwoods meet his old friend, the grave, quiet, but gentlemanly Colonel Brandon. It soon becomes apparent that Brandon is attracted to Marianne, and Mrs. Jennings teases them about it. Marianne is not pleased as she considers Colonel Brandon, at age 35, to be an old bachelor incapable of falling in love or inspiring love in anyone else.
A 19th century illustration showing Willoughby cutting a lock of Marianne's hair
Marianne, out for a walk, gets caught in the rain, slips, and sprains her ankle. The dashing, handsome John Willoughby, who is visiting his wealthy aunt, Mrs. Smith, in the area, happens to be out with his gun and friends hunting nearby and sees the accident. He carries Marianne home and soon wins her admiration with his good looks, romantic personality, and outspoken views on poetry, music and art. Willoughby appears the exact opposite of the quiet and reserved Brandon. He visits Marianne every day, and Elinor and Mrs. Dashwood begin to suspect that the couple are secretly engaged. Elinor is worried about Marianne's unguarded conduct in Willoughby's presence and cautions her, but Marianne refuses to check her emotions, believing this to be a falsehood. At a picnic outing, Willoughby and Marianne go off together to see the house and estate that Willoughby is to inherit. Elinor is greatly alarmed by Marianne's going off alone to visit a house, the owner of which - Mrs Smith - is unknown to her. Marianne is angry at Elinor's interference; Elinor assumes (as does Marianne) that Willoughby is showing Marianne the house of which she will be mistress upon their marriage. The next day Mrs Dashwood and Elinor find Marianne in hysterics after a morning visit by Willoughby; he informs them that his aunt is sending him to London on business and that he will not return to their area for as long as a year; he brushes aside an invitation to stay with the Dashwoods and leaves hurriedly. Marianne is distraught and feeds her sorrow by playing the music Willoughby brought for her and reading the books they enjoyed together.
Edward Ferrars pays the Dashwoods a short visit at Barton Cottage but seems unhappy and out of sorts. Elinor fears that he no longer has feelings for her. However, unlike Marianne, she does not allow anyone to see her wallow in her sadness, feeling it her duty to be outwardly calm for the sake of her mother and sisters, who dote on Edward and have firm faith in his love for Elinor.
Anne and Lucy Steele, rather vulgar and uneducated cousins of Lady Middleton, come to stay at Barton Park. Sir John tells Lucy as a joke that Elinor is attached to Edward, prompting Lucy to inform Elinor of her secret four year long engagement to Edward. Although Elinor initially blames Edward for engaging her affections when he was not free to do so, she realizes he became engaged to Lucy while he was young and naïve and perhaps has made a mistake. She thinks or hopes that Edward does not love Lucy, but he will not hurt or dishonour her by breaking their engagement. Elinor hides her disappointment and works to convince Lucy she feels nothing for Edward. This is particularly hard as she sees Lucy may not be sincerely in love with Edward and may only make him unhappy. Lucy tells Elinor that Mrs Ferrars will almost certainly disapprove of the match and that the couple plan to wait until she has died before marrying, unless Edward can find a way of supporting himself financially without her.
Elinor and Marianne spend the winter at Mrs. Jennings' home in London. Marianne writes a series of letters to Willoughby - prompting Elinor to believe that they are indeed engaged, as only engaged couples could properly correspond in this way. However, Marianne's letters go unanswered, and he snubs her coldly when he sees her at a ball. He later writes to Marianne, enclosing their former correspondence and love tokens, including a lock of her hair and informing her of his engagement to a Miss Grey, a high-born, wealthy woman with £50,000 (equivalent to about £1.7 million today). Marianne is devastated, and admits to Elinor that she and Willoughby were never engaged, but she loved him and he led her to believe he loved her.
Meanwhile, the truth about Willoughby's real character starts to emerge; Colonel Brandon tells Elinor that Willoughby had seduced Brandon's ward, fifteen-year-old Eliza Williams, and abandoned her when she became pregnant. Brandon was once in love with Miss Williams' mother, a woman who resembled Marianne and whose life was destroyed by an unhappy arranged marriage to the Colonel's brother.
Fanny Dashwood, who is also in London for the season, declines her husband's offer to invite the Dashwood girls to stay with her. Instead, she invites the Misses Steele. Lucy Steele becomes very arrogant and brags to Elinor that Fanny's mother, Mrs. Ferrars, favours her. Indeed Fanny and Mrs. Ferrars seem genuinely fond of Lucy - so much so that Miss Anne Steele decides to tell them of Lucy's engagement to Edward. When Mrs. Ferrars discovers Edward's and Lucy's engagement, she is furious while Fanny throws the Misses Steele out onto the street. Mrs. Ferrars demands that Edward end the engagement on pain of disinheritance. Edward, who believes it would be dishonorable to break off with Lucy, refuses and is disinherited in immediate favour of his brother, Robert. Elinor and Marianne feel sorry for Edward, and think him honourable for remaining engaged to a woman with whom he isn't in love.
Edward plans to become ordained as a parish vicar to earn his living and Colonel Brandon, knowing how lives can be ruined when love is denied, expresses his commiseration for Edward's deplorable circumstance to Elinor asking her to be his intermediary in offering Edward a parsonage on Brandon's estate at Delaford, with two hundred pounds a year. Colonel Brandon does not intend the living to enable Edward to marry Lucy as it would be insufficient to pay for a wife and family but intends it to provide Edward some sustenance until he can find something better. Elinor meets Edward's foppish brother Robert and is shocked he has no qualms about claiming his brother's inheritance.
The sisters end their winter stay in London and begin their return trip to Barton via Cleveland, the country estate of Mrs.Jennings' son-in-law, Mr. Palmer. There, miserable over Willoughby, Marianne neglects her health and becomes dangerously ill. Hearing of her serious illness, Willoughby arrives suddenly and reveals to Elinor that he truly loved Marianne, but since he was disinherited when his benefactress discovered his seduction of Miss Williams, he decided to marry the wealthy Miss Grey.
Elinor tells Marianne about Willoughby's visit. Marianne admits that although she loved Willoughby, she could not have been happy with the libertine father of an illegitimate child, even if he had stood by her. Marianne also realizes her illness was brought on by her wallowing in her grief, by her excessive sensibility, and had she died, it would have been morally equivalent to suicide. She now resolves to model herself after Elinor's courage and good sense.
The family learns Lucy has married Mr. Ferrars. When Mrs. Dashwood sees how upset Elinor is, she finally realizes how strong Elinor's feelings are for Edward and is sorry she did not pay more attention to her daughter's unhappiness. However, the next day Edward arrives and reveals it was his brother, Robert Ferrars, who married Lucy. He says he was trapped in his engagement to Lucy, "a woman he had long since ceased to love", and she broke the engagement to marry the now-wealthy Robert. Edward asks Elinor to marry him, and she agrees. Edward eventually becomes reconciled with his mother, who gives him ten thousand pounds. He also reconciles with his sister Fanny. Edward and Elinor marry and move into the parsonage at Delaford.
Mr. Willoughby's patroness eventually gives him his inheritance because of his prudent marriage. Willoughby realizes marrying Marianne would have produced the same effect; had he behaved honourably, he could have had love and money.
Over the next two years, Mrs. Dashwood, Marianne, and Margaret spend most of their time at Delaford. Marianne matures and, at the age of nineteen, decides to marry the 37-year-old Colonel. Although initially she found marriage to someone twenty years her senior repulsive, the gratitude and respect she has come to feel for him develop into a very deep love. The Colonel's house is near the parsonage where Elinor and Edward live, so the sisters and their husbands can visit each other often.
Characters
* Henry Dashwood — a wealthy gentleman who dies at the beginning of the story. The terms of his estate prevent him from leaving anything to his second wife and their children. He asks John, his son by his first wife, to look after (meaning ensure the financial security of) his second wife and their three daughters.
* Mrs. Dashwood — the second wife of Henry Dashwood, who is left in difficult financial straits by the death of her husband. She is 40 years old at the beginning of the book. Much like her daughter Marianne, she is very emotive and often makes poor decisions based on emotion rather than reason.
* Elinor Dashwood — the sensible and reserved eldest daughter of Mr. and Mrs. Henry Dashwood. She is 19 years old at the beginning of the book. She becomes attached to Edward Ferrars, the brother-in-law of her elder half-brother, John. Always feeling a keen sense of responsibility to her family and friends, she places their welfare and interests above her own, and suppresses her own strong emotions in a way that leads others to think she is indifferent or cold-hearted.
* Marianne Dashwood — the romantically inclined and eagerly expressive second daughter of Mr. and Mrs. Henry Dashwood. She is 16 years old at the beginning of the book. She is the object of the attentions of Colonel Brandon and Mr. Willoughby. She is attracted to young, handsome, romantically spirited Willoughby and does not think much of the older, more reserved Colonel Brandon. Marianne does the most development within the book, learning her sensibilities have been selfish. She decides her conduct should be more like her elder sister's, Elinor.
* Margaret Dashwood — the youngest daughter of Mr. and Mrs. Henry Dashwood. She is thirteen at the beginning of the book. She is also romantic and well-tempered but not expected to be as clever as her sisters when she grows older.
* John Dashwood — the son of Henry Dashwood by his first wife. He intends to do well by his half-sisters, but he has a keen sense of avarice, and is easily swayed by his wife.
* Fanny Dashwood — the wife of John Dashwood, and sister to Edward and Robert Ferrars. She is vain, selfish, and snobbish. She spoils her son Harry. Very harsh to her husband's half-sisters and stepmother, especially since she fears her brother Edward is attached to Elinor.
* Sir John Middleton — a distant relative of Mrs. Dashwood who, after the death of Henry Dashwood, invites her and her three daughters to live in a cottage on his property. Described as a wealthy, sporting man who served in the army with Colonel Brandon, he is very affable and keen to throw frequent parties, picnics, and other social gatherings to bring together the young people of their village. He and his mother-in-law, Mrs. Jennings, make a jolly, teasing, and gossipy pair.
* Lady Middleton — the genteel, but reserved wife of Sir John Middleton, she is quieter than her husband, and is primarily concerned with mothering her four spoiled children.
* Mrs. Jennings — mother to Lady Middleton and Charlotte Palmer. A widow who has married off all her children, she spends most of her time visiting her daughters and their families, especially the Middletons. She and her son-in-law, Sir John Middleton, take an active interest in the romantic affairs of the young people around them and seek to encourage suitable matches, often to the particular chagrin of Elinor and Marianne.
* Edward Ferrars — the elder of Fanny Dashwood's two brothers. He forms an attachment to Elinor Dashwood. Years before meeting the Dashwoods, Ferrars proposed to Lucy Steele, the niece of his tutor. The engagement has been kept secret owing to the expectation that Ferrars' family would object to his marrying Miss Steele. He is disowned by his mother on discovery of the engagement after refusing to give up the engagement.
* Robert Ferrars — the younger brother of Edward Ferrars and Fanny Dashwood, he is most concerned about status, fashion, and his new barouche. He subsequently marries Miss Lucy Steele after Edward is disowned.
* Mrs. Ferrars — Fanny Dashwood and Edward and Robert Ferrars' mother. A bad-tempered, unsympathetic woman who embodies all the foibles demonstrated in Fanny and Robert's characteristics. She is determined that her sons should marry well.
* Colonel Brandon — a close friend of Sir John Middleton. In his youth, Brandon had fallen in love with his father's ward, but was prevented by his family from marrying her because his father was determined to marry her to his older brother. He was sent into the military abroad to be away from her, and while gone, the girl suffered numerous misfortunes partly as a consequence of her unhappy marriage, finally dying penniless and disgraced, and with a natural (i.e., illegitimate) daughter, who becomes the ward of the Colonel. He is 35 years old at the beginning of the book. He falls in love with Marianne at first sight as she reminds him of his father's ward. He is very honorable friend to the Dashwoods, particularly Elinor, and offers Edward Ferrars a living after being disowned by his mother.
* John Willoughby — a philandering nephew of a neighbour of the Middletons, a dashing figure who charms Marianne and shares her artistic and cultural sensibilities. It is generally understood that he is engaged to be married to Marianne by many of their mutual acquaintances.
* Charlotte Palmer — the daughter of Mrs. Jennings and the younger sister of Lady Middleton, Mrs. Palmer is jolly but empty-headed and laughs at inappropriate things, such as her husband's continual rudeness to her and to others.
* Thomas Palmer — the husband of Charlotte Palmer who is running for a seat in Parliament, but is idle and often rude.
* Lucy Steele — a young, distant relation of Mrs. Jennings, who has for some time been secretly engaged to Edward Ferrars. She assiduously cultivates the friendship with Elinor Dashwood and Mrs. John Dashwood. Limited in formal education and financial means, she is nonetheless attractive, clever, manipulative, cunning and scheming.
* Anne/Nancy Steele — Lucy Steele's elder, socially inept, and less clever sister.
* Miss Sophia Grey — a wealthy but malicious heiress whom Mr. Willoughby marries in order to retain his comfortable lifestyle after he is disinherited by his aunt.
* Lord Morton — the father of Miss Morton.
* Miss Morton — a wealthy woman whom Mrs. Ferrars wants her eldest son, Edward, and later Robert, to marry.
* Mr. Pratt — an uncle of Lucy Steele and Edward's tutor.
* Eliza Williams — the ward of Col. Brandon, she is about 15 years old and bore an illegitimate son to John Willoughby. She is the daughter of Elizabeth Williams.
* Elizabeth Williams — the former love interest of Colonel Brandon. Williams is Brandon's father's ward, and is forced to marry Brandon's older brother. The marriage is an unhappy one, and it is revealed that her daughter is left as Colonel Brandon's ward when he finds his lost love dying in a poorhouse.
* Mrs. Smith — the wealthy aunt of Mr. Willoughby who disowns him for not marrying Eliza Williams.
Critical appraisal
Austen wrote the first draft of Elinor and Marianne (later retitled Sense and Sensibility) in epistolary form sometime around 1795 when she was about 19 years old. While she had written a great deal of short fiction in her teens, Elinor and Marianne was her first full-length novel. The plot revolves around a contrast between Elinor's sense and Marianne's emotionalism; the two sisters may have been loosely based on the author and her beloved elder sister, Cassandra, with Austen casting Cassandra as the restrained and well-judging sister and herself as the emotional one.
Austen clearly intended to vindicate Elinor's sense and self-restraint, and on the simplest level, the novel may be read as a parody of the full-blown romanticism and sensibility that was fashionable around the 1790s. Yet Austen's treatment of the two sisters is complex and multi-faceted. Austen biographer Claire Tomalin argues that Sense and Sensibility has a "wobble in its approach", which developed because Austen, in the course of writing the novel, gradually became less certain about whether sense or sensibility should triumph. She endows Marianne with every attractive quality: intelligence, musical talent, frankness, and the capacity to love deeply. She also acknowledges that Willoughby, with all his faults, continues to love and, in some measure, appreciate Marianne. For these reasons, some readers find Marianne's ultimate marriage to Colonel Brandon an unsatisfactory ending. The ending does, however, neatly join the themes of sense and sensibility by having the sensible sister marry her true love after long, romantic obstacles to their union, while the emotional sister finds happiness with a man whom she did not initially love, but who was an eminently sensible and satisfying choice of a husband.
The novel displays Austen's subtle irony at its best, with many outstanding comic passages about the Middletons, the Palmers, Mrs. Jennings, and Lucy Steele.
Publication
In 1811, Thomas Egerton of the Military Library publishing house in London accepted the manuscript for publication, in three volumes. Austen paid for the book to be published and paid the publisher a commission on sales. The cost of publication was more than a third of Austen's annual household income of £460 (about £15,282 in 2008 currency). She made a profit of £140 (£4,754.40 in 2008 currency) on the first edition, which sold all 750 printed copies by July 1813. A second edition was advertised in October 1813.
sì gè nǚ rén zū liǎo yuē hàn jué shì de xiǎo wū jū zhù， jué shì de yuè mǔ xià luò tè xǐ huān zhè sān jiě mèi， bìng shì tú bǎ yī gè yòu qián de dān shēn guì zú bù lán dēng shàng xiào jiè shào gěi 'ài lín nà， ér bù lán dēng què 'ài shàng liǎo 'èr mèi mǎ lì 'ān。
zài yī cì fēng yǔ zhōng， mǎ lì 'ān niǔ shāng liǎo jiǎo huái， yī gè yīng jùn de mò shēng nán shì zhù dòng bāng máng， bǎ mǎ lì 'ān bào huí jiā zhōng， mǎ lì 'ān 'ài shàng liǎo zhè gè jiào yuē hàn · wèi lè bǐ de nián qīng rén。
bù lán dēng hái shì duì mǎ lì 'ān jǐn zhuī bù fàng， tè yì zhào kāi liǎo yī cì zhuāng yuán jù huì。 dàn zài huì shàng， yī fēng lái zì lún dūn de xìn ràng bù lán dēng lì jí fēi mǎ lí qù。 dì 'èr tiān， wèi lè bǐ tū rán lái xiàng mǎ lì 'ān cí xíng， yán cí shǎn shuò， mǎ lì 'ān shí fēn shāng xīn。
zài xià luò tè chù， yī gè jiào lù qiàn de nǚ hái gào sù 'ài lín nà， tā hé 'ài dé huá yǐ jīng sī dìng zhōng shēn yòu wǔ nián zhī jiǔ liǎo， ài lín nà 'àn zì shāng xīn zhī jì hái shì bù wàng tì tā bǎo shǒu mì mì。 xià luò tè kàn mǎ lì 'ān shāng xīn， jué dìng dài jǐ gè nǚ hái zǐ dào lún dūn qù guò shè jiāo jì jié。
mǎ lì 'ān jiàn dào liǎo wèi lè bǐ， què dé zhī tā yào hé gài xiǎo jiě jié hūn， mǎ lì 'ān bēi tòng yù jué。 xià luò tè hé bù lán dēng gào sù tā men， wèi lè bǐ yīn wéi jí jiāng pò chǎn， ér zhǐ néng hé shēn jià 5 wàn yīng bàng de gài xiǎo jiě jié hé， zài cǐ zhī qián hái bǎ bù lán dēng de sī shēng nǚ yí qì liǎo。 dàn bù lán dēng yě yǐ shēn shì de tài dù biǎo míng， wèi lè bǐ duì mǎ lì 'ān hái shì zhēn xīn xǐ huān de。
ài dé huá lái zhǎo 'ài lín nà， què yù dào liǎo lù qiàn， yī shí hěn shì gān gà， zhǐ néng tuō cí chū mén。 fēn nī duì 'ài dé huá hé lù qiàn de hūn shì shí fēn bù mǎn， dàn 'ài dé huá xìn shǒu nuò yán， fàng qì suǒ yòu yí chǎn， hái shì yào duì lù qiàn fù zé。 bù lán dēng lái zhǎo 'ài lín nà， yuàn yì wéi 'ài dé huá hé lù qiàn jìn lì， wěi tuō 'ài lín nà zhuǎn gào。 ài lín nà míng zhī huì bǎ 'ài rén sòng rù bié rén de huái bào， hái shì rú shí zhuǎn gào liǎo 'ài dé huá。
yī duì shāng xīn jiě mèi huí dào liǎo bù lán dēng de zhuāng yuán， mǎ lì 'ān dào shān shàng yuǎn wàng wèi lè bǐ de， zài dà yǔ zhōng hūn dǎo， bù lán dēng bǎ tā bào huí jiā zhōng。 rǎn shàng rè bìng de mǎ lì 'ān zhōng yú yòu suǒ hǎo zhuǎn， bù lán dēng yǐ jīng lián yè bǎ tā de mǔ qīn jiē lái kàn tā， mǎ lì 'ān bèi bù lán dēng shēn shēn gǎn dòng liǎo。
ài lín nà hái zài wéi 'ài dé huá shāng xīn， ér 'ài dé huá què chū xiàn zài tā miàn qián。 yuán lái， lù qiàn hé 'ài dé huá de dì dì yī jiàn zhōng qíng， ài dé huá yě zhèng hǎo dé yǐ huí dào 'ài lín nà shēn biān， ài lín nà bèi zhè gè tū rán de jiēguǒ nòng dé dāng chǎng dà kū。
zhōng yú yòu qíng rén zhōng chéng juàn shǔ， liǎng jiě mèi tóng shí jǔ xíng liǎo hūn lǐ。 yuǎn fāng de shān pō shàng， wèi lè bǐ diào zhuǎn mǎ tóu jí bēn 'ér qù。
“ nǐ shí jiàn liǎo nǐ de chéng nuò， zhè bǐ shénme dū zhòng yào。” ài lín nà duì 'ài dé huá shuō。
ài dé huá bù dé bù duì 5 nián qián de yī gè guò shí de chéng nuò fù zé， ài lín nà bù dé bù zūn zhòng zhè gè chéng nuò， liǎng gè xiāng 'ài de rén què bù dé bù fēn lí。 rú guǒ huàn yī gè rén lái dǎo yǎn zhè bù yǐngpiān， duì yú nuò yán de shù fù wèi bì yòu lǐ 'ān zhè yàng shēn kè de rèn shí hé tǐ huì。 zhè shì rén xìng zhōng zuì bǎo guì de bù fēn， zài dōng xī fāng yǐ bù tóng de míng yì hé xíng shì cún zài。 zhè shì yī zhǒng“ yòu suǒ bùwèi， yòu suǒ bì wéi” de jīng shén， tā gù rán shì dōng fāng chuán tǒng lún lǐ dào dé duì“ jūn zǐ” de yuē shù， yě shì xī fāng chuán tǒng duì“ shēn shì” de yào qiú， lǐ 'ān zài zhè lǐ zhǎo dào liǎo dōng xī fāng chuán tǒng měi dé de qì hé diǎn。 zài zhè yī diǎn shàng shuō， zhè shèn zhì hé《 wò hǔ cáng lóng》 de mǒu xiē jīng shén xiāng yī zhì。 ér tóng yàng de， duì zhè zhǒng měi dé de zàn sòng， bì rán huì yǐn chū rén zài shì jiè shàng suǒ shòu de shù fù。
zuì hòu de dà tuán yuán jié wěi shì lìng rén shū chàng de， tā men de huān lè shì yóu zhōng de、 méi yòu yī diǎn yīn yǐng de。 tā men měi gè réndōu jìn liǎo zì jǐ de běn fēn： xìn shǒu nuò yán， yě zūn zhòng bié rén xìn shǒu nuò yán， tā men de liáng xīn shì píng 'ān de。 ér yuǎn chù shān pō shàng de wèi lè bǐ， xīn zhōng bì dìng shòu zhe wú bǐ tòng kǔ de jiān 'áo。 suī rán zhè shì gè guò yú lǐ xiǎng de jié jú， yòu jiào huì shì rén de yòng yì， dàn qí zhōng de xìn niàn què shì jiān dìng de。
yīng guó xiǎo shuō jiā 1795 nián yòng bǐ jiǎng guò de gù shì， liǎng bǎi nián hòu de jīn tiān yóu yī wèi huá rén dǎo yǎn zài yín mù shàng zhòng xīn yǎn yì liǎo yī fān。
《 lǐ zhì yǔ qíng gǎn》 - mù hòu huā xù
jiǎn · ào sī dīng jué bù ràng nǐ dà xǐ dà bēi， tā piān zhòng sǎnwén shì de qíng qù hé nǚ xìng huà de ruì zhì。 lǐ 'ān de zhí dǎo hé 'ài mǎ · tānɡ mǔ xùn de biān jù wéi gāi piàn chā shàng liǎo chì bǎng。 yǐngpiān jié zòu bǎ wò dé dāng， xì jié shū mì tuǒ tiē， měi chǎng xì de qǔshě hé cháng dù dū fēi cháng diàn yǐng huà。 huò bólín jīn xióng jiǎng。 gāi jù zài 1985 nián céng jīng yòu guò yī gè BBC de diàn shì bǎn， cháng 174 fēn zhōng。
lǐ 'ān tán zhōng wén piàn míng
wǒ jué dé yán gé lái jiǎng， yīnggāi fān yì chéng《 zhī xìng yǔ gǎn xìng》， zhī xìng bāo kuò gǎn xìng， tā bìng fēi zhǐ xiàn yú yī gè lǐ xìng、 yī gè gǎn xìng de jié rán 'èr miàn， ér shì zhī xìng lǐ miàn gǎn xìng de tǎo lùn。 suǒ yǐ xì zì rán luò dào 'ài mǎ · tānɡ pǔ sēn shēn shàng， lǐ xìng de jiě jiě dé dào yī gè zuì làng màn de jié jú， mèi mèi zé duì gǎn xìng yòu liǎo lǐ xìng de rèn shí， tā zhī suǒ yǐ dòng rén yuán yīn zài cǐ， bìng fēi jiě jiě lǐ xìng、 mèi mèi gǎn xìng de bǐ jiào， huò shuí shì shuí fēi。 rén shì yī gè yòu jī de zhěng tǐ， shí fēn de fù zá wēi miào， zhè yǔ zhōng guó de“ yīn yáng” xiāng tōng， měi yàng dōng xī dōuyòu gè shuāng miàn xìng， qí shí xǔ duō xī fāng rén hái bù jiàn dé róng yì tǐ huì dào jiǎn · ào sī tīng de liǎng miàn xìng， fǎn dǎo shì zhōng guó rén róng yì yī diǎn jiù tōng。 zhè gè guān niàn yǔ zhōng guó de“ yīn yáng” jié hé， duì wǒ zhī hòu pāi shè《 wò hǔ cáng lóng》 yǐ jí gòu sī《 lǜ jù rén》 dōuyòu yǐng xiǎng。
· piàn zhōng yuán běn yòu yīcháng xiū · gé lán tè hé 'ài mǎ · tānɡ pǔ sēn de wěn xì， dàn hòu lái bèi shān diào liǎo， yīn wéi tānɡ pǔ sēn xiě zhè gè chǎng miàn jǐn jǐn shì yīn wéi tā xiǎng wěn xiū · gé lán tè。
· jù 'ài mǎ · tānɡ pǔ sēn huí yì， dāng pāi shè piàn zhōng bù lán dēng shàng xiào ( ài lún · ruì kè màn， tā hái yǎn guò《 hā lì bō tè》 lǐ de sī nèi pǔ jiào shòu ) qí mǎ zǒu jìn 'āi lì nuò hé mǎ lì 'ān shí， hěn duō cì de pāi shè dōubèi mǎ gěi jiǎo huài liǎo。 yīn wéi nà pǐ kě lián de mǎ dé liǎo wèi zhàng qì …… hòu lái tóng qī shēng jīng guò chǔlǐ qù diào liǎo nà xiē fàng pì de shēng yīn。
· jù zǔ rén yuán bù dé bù jīng cháng gēn yīng guó nà biàn huàn mò cè de tiān qì zuò dǒu zhēng。
· diàn yǐng shì 4 yuè 19 rì kāi pāi de， ér 'ài lún · ruì kè màn 5 yuè 1 rì cái jiā rù jù zǔ， tā dì yī tiān shàng xì , què chū xiàn zài diàn yǐng de zuì hòu yī gè jìng tóu， wán quán yī tóu wù shuǐ。
· dāng gē lún bǐ yà gōng sī bǎ 'ài mǎ · tānɡ pǔ sēn de jù běn ná gěi lǐ 'ān shí， tā hái cóng méi dú guò rèn hé yī běn jiǎn · ào sī tīng de xiǎo shuō。
·《 lǐ zhì yǔ qíng gǎn》 shì lǐ 'ān dì yī cì pāi dà lián méng de piānzǐ， dì yī cì hé zhēn zhèng de míng xīng hé zuò， yě shì dì yī cì hé rú cǐ zhuān yè chéng shú de bān dǐ hé zuò。 tā bù jǐn yào hé yǎn yuán dǒu， hái yào gēn shè yǐng dǒu， měi gè réndōu shì xué fù wǔ chē、 yuè lì guò rén、 líng yá lì chǐ de， yòng tā de huà jiǎng：“ wǒ yī zhí zài ‘ zhèng ’ wǒ de quán wēi”。
《 lǐ zhì yǔ qíng gǎn》 - méi tǐ bào dào
lǐ zhì zhàn shèng qíng gǎn？ xiàn shí gāo yú mèng huàn？《 lǐ zhì yǔ qíng gǎn》 piāo yǔ tiān hǎi fā bù yú： 2007-11-3022:44
yǐngpiān shì yóu shì jiè míng zhù jiǎn - ào sī dīng de tóng míng xiǎo shuō gǎi biān 'ér chéng， tā yán xí liǎo yuán xiǎo shuō de zhù tí。 shēng huó zhōng， wǒ men miǎn bù liǎo lǐ zhì yǔ qíng gǎn de juézhú， bù guǎn nà fāng shèng chū， bù guǎn shì tài de fā zhǎn zěn yàng yìn zhèng wǒ men dāng shí de jué dìng， dōuhěn nán shuō nà gè gēngzhèng què， nà gè gèng hé hū qíng lǐ。 zhè shì yǒng héng de máo dùn， zài 'ài qíng shàng de biǎo xiàn yóu wéi tū chū， yīn cǐ， suī rán yǐngpiān de bèi jǐng shì jī yú 18 shì jì de 'ōu zhōu， dàn zài wǒ men guān yǐng shí， yǐ rán bù huì jué dé mò shēng hé yáo yuǎn。
“ xìng gé yǔ mìng yùn duān shì， rǔ zhī zì jué 'ér kāi qǐ”
mèi mèi zhāng yáng 'ér yòu bēn fàng， cóng lái bù yǎn gài zì jǐ de gǎn qíng。 tā zuì xǐ huān suō jù de yī duàn tái cí， bìng qiě zài yín sòng de shí hòu， yě yī dìng yào chōng mǎn jī qíng， shèn zhì bù néng róng rěn 'ài dé huá nà sǐ qì chén chén lǎng dú“ shuō biàn xīn jiù biàn xīn， zěn néng suàn shì 'ài？ ài shì yǒng héng de yìn jì， zòng shì kuáng fēng bào yǔ， yě yǒng bù tuì sè。”
jiě jiě wěn zhòng 'ér yòu jīn chí， jí shǐ nèi xīn xiōng yǒng péng pài， què yǐ rán píng jìng 'ān xiáng。
zhè liǎng gè xìng gé jiǒng yì de jiě mèi， yī gè dài biǎo liǎo lǐ zhì， yī gè dài biǎo liǎo qíng gǎn， dāng 'ài qíng dào lái shí， huì yòu zěn yàng de mìng yùn？
cóng liǎng jiě mèi de gǎn qíng mìng yùn lái kàn， běn piàn sì hū gào sù wǒ men“ lǐ zhì zhàn shèng qíng gǎn， xiàn shí gāo yú mèng huàn。” dàn zhè zhōng jiū hái shì yīcháng méi yòu dìng lùn de zhēng fēng。 nǐ wǒ zhǐ néng gēn jù zì jǐ de xìng gé， zhǎo dào shǔ yú zì jǐ de píng héng diǎn bā？
mèi mèi zài jīng lì liǎo shēng yú sǐ de xǐ lǐ hòu， zhǎo dào liǎo lǐ zhì yǔ qíng gǎn de píng héng diǎn， xiàn shí zǒng bù xiàng mèng huàn zhōng nà me měi lì， suō wēng de shī jù huò zhě zhǐ néng shì shī jù bā？
jiě jiě zài cháng shí jiān de yā yì hòu， shì qíng gǎn de bèng fā。 wǒ hěn xǐ huān EmmaThompson zài yǐngpiān mò wěi zhè duàn nán yǐ zì zhì de tòng kū de biǎo yǎn， bǎ yī zhí yǐ lái nèi xīn shì jiè lǐ zhì yǔ qíng gǎn de jiāo fēng tuī xiàng liǎo dǐng diǎn。 méi yòu liǎo mèng huàn， méi yòu liǎo qíng gǎn， wǒ men yào lǐ zhì yòu yòu hé yòng？
běn piàn yóu huá yì dǎo yǎn lǐ 'ān zhǐ dǎo， yǐng hòu EmmaThompson biān jù bìng shì yǎn jiě jiě， Hughgrant yī gǎi yǐ wǎng xǐ jù xǐ lù， biàn chéng yīng jùn de gǔ diǎn wáng zǐ， shì yǎn 'ài dé huá。 Katewinslet（ tài tǎn ní kè nǚ zhùjué） shì yǎn mèi mèi。 jīng zhàn de biǎo yǎn， bǎ rén wù xìng gé kè huà de xiāng dāng dào wèi。 lǐ zhì yǔ qíng gǎn， jiān dé hái shì qǔshě？
《 lǐ zhì yǔ qíng gǎn》 - xiāng guān píng lùn
lǐ 'ān de《 lǐ zhì yǔ qíng gǎn》 yī rú tā yī guàn de diàn yǐng fēng gé， tū chū biǎo xiàn de shì rén yǔ rén zhī jiān de zhēn qíng shí gǎn。
jiě jiě 'ài lín nà shì lǐ xìng de dài biǎo， tā duì yú suǒ yòu de yī qiēdōu chǔlǐ dé hěn shí dà tǐ， ér mèi mèi mǎ lì 'ān zé shì gǎn xìng de dài biǎo， tā jiān xìn 'ài qíng shì rè qíng rú huǒ de。 ài dé huá de dào lái dǎ kāi liǎo 'ài lín nà cóng wèi kāi qǐ guò de xīn mén， kě shì lǐ xìng de tā shǐ zhōng dū kè zhì zhe zì jǐ de gǎn qíng， lǐ xìng de jiāo tán， lǐ xìng de wēi xiào， yú shì， ài dé huá yǐ wéi tā duì tā zhǐ shì yǒu qíng， jiā zhī yǐ yòu hūn yuē zài shēn， liǎng rén bèi pò fēn kāi， méi yòu rèn hé chéng nuò。 zài bān qù bā dùn xiǎo wū zhī hòu， bù lāi dēng shàng xiào de chū xiàn bìng méi yòu dǎ dòng mǎ lì 'ān de fāng xīn， tā 'ài shàng liǎo fēng liú tì tǎng de wēi lè bǐ， tǐ yàn zhe tā suǒ xiàng wǎng de rè qíng rú huǒ de 'ài qíng。 rán 'ér， shì qíng jiù shì zhè yàng de yīn chā yáng cuò， jiù zài wēi lè bǐ zhǔn bèi qiú hūn de nà tiān， fā shēng liǎo yī diǎn yì wài， tā miàn duì shēn wú fēn wén de jiǒng jìng， zhōng yú xiàng xiàn shí tuǒ xié， qì mǎ lì 'ān yú bù gù， yíng qǔ liǎo shēn jià bù fěi de fù jiā nǚ。“ shuō biàn xīn jiù biàn xīn， nǎ néng suàn shì 'ài…… ài shì yǒng bù tuì sè de yìn jì。” céng jīng de shān méng hǎi shì yóu zài yǎn qián， ér sī rén bù zài。 mǎ lì 'ān zhōng yú bù zhī bìng dǎo。 ér bù lāi dēng shàng xiào què zì shǐ zhì zhōng dōubù céng lí kāi， yīn wéi céng jīng shī qù， suǒ yǐ dǒng dé zhēn xī。 ér mǎ lì 'ān qīng xǐng hòu de yī jù“ xiè xiè”， suǒ yòu de fù chū dū zhí dé liǎo。 gǎn xìng de tā zhōng yú míng bái， zhǐ yòu píng dàn de gǎn qíng cái néng gòu xì shuǐ cháng liú。 ér 'ài lín nà ní， zì cóng bān qù bā dùn xiǎo wū zhī hòu， tā wú shí wú kè bù zài qī dài zhe yǔ 'ài dé huá de chóngféng， kě huàn lái de què shì yī cì cì de shī wàng， yóu qí shì lù qiàn de chū xiàn。 rú guǒ shuō gāng kāi shǐ tā hái bàn xìn bàn yí de huà， nà me dāng lù qiàn ná zhe nà kuài xiù zhe“ ELF” de shǒu pà zài nà mǒ yǎn lèi de shí hòu， tā wán quán chù zài bēng kuì de biān yuán。 tā de xīn lǐ yòu zhe wú xiàn de tòng kǔ， què bù néng yán shuō， hái dé dà duódì bāng zhù 'ài dé huá hé lù qiàn kāi shǐ xīn shēng huó。 rán 'ér， xì jù xìng de yī mù zài cì chū xiàn， lù qiàn 'ài shàng liǎo 'ài dé huá de dì dì luó bó， yú shì， ài dé huá huī fù liǎo zì yóu zhī shēn， dāng tā gào sù 'ài lín nà tā méi yòu jié hūn de xiāo xī shí， ài lín nà zhōng yú bù zài yā yì zì jǐ de gǎn qíng， shī tài dì dà kū， tā yā yì dé tài jiǔ liǎo， dōuyǐ jīng má mù liǎo， què zài zhè tū rú qí lái de xìng fú miàn qián zhǎn xiàn liǎo zì jǐ zuì zhēn shí de yī miàn。 gù shì de jié wěi shì jiē dà huān xǐ de， lǐ xìng de 'ài lín nà hé gǎn xìng de mǎ lì 'ān dū gè zì zhǎo dào liǎo shǔ yú zì jǐ de xìng fú， zhǐ liú xià wēi lè bǐ yī gè rén zài nà lǐ quán héng dào dǐ shì 'ài qíng zhòng yào hái shì jīn qián zhòng yào， dàn wú lùn shì shénme jiēguǒ， tādōu yǐ jīng zuò chū liǎo xuǎn zé， jì rán zuò liǎo xuǎn zé jiù bì xū wéi zì jǐ de xíng wéi fù zé。
lǐ xìng hái shì gǎn xìng， zhè shì yī gè wèn tí， xìng fú de zhēn dì zài yú jiù zuò nǐ zì jǐ。 dú yī wú 'èr de nǐ yī dìng huì shōu huò dú yī wú 'èr de xìng fú。
The story revolves around Elinor and Marianne, two daughters of Mr. Dashwood by his second wife. They have a younger sister, Margaret, and an older half-brother named John. When their father dies, the family estate passes to John, and the Dashwood women are left in reduced circumstances. The novel follows the Dashwood sisters to their new home, a cottage on a distant relative's property, where they experience both romance and heartbreak. The contrast between the sisters' characters is eventually resolved as they each find love and lasting happiness. Through the events in the novel, Elinor and Marianne find a balance between sense (or pure logic) and sensibility (or pure emotion) in life and love.
The book has been adapted for film and television a number of times, including a 1981 serial for TV directed by Rodney Bennett; a 1995 movie adapted by Emma Thompson and directed by Ang Lee; a version in Tamil called Kandukondain Kandukondain released in 2000; and a 2008 TV series on BBC adapted by Andrew Davies and directed by John Alexander.
Plot summary
When Mr. Dashwood dies, his estate - Norland Park - passes directly to John, his only son, and child of his first wife. Mrs. Dashwood, his second wife, and their daughters, Elinor, Marianne and Margaret, are left only a small income.
On his deathbed, Mr. Dashwood had asked John to promise to take care of his half-sisters but John's selfish and greedy wife, Fanny, soon persuades her weak-willed husband that he has no real financial obligation in the matter, and he gives the girls and their mother nothing. John and Fanny move into Norland immediately on the death of Mr Dashwood and take up their place as its new owners. The Dashwood women, now treated as rather unwelcome guests in what was their home, begin looking for another place to live - a difficult task because of their small income.
Fanny's brother, Edward Ferrars, a pleasant, unassuming, intelligent but reserved young man, comes to Norland for a visit. He and Elinor are clearly attracted to each other and Mrs. Dashwood cherishes hopes that they will marry. Fanny makes it clear that their mother, Mrs. Ferrars, a wealthy widow, wants her son to make a career for himself and to marry a woman of high rank or great estate, if not both, and offended with the ill-disguised hint, Mrs. Dashwood indignantly resolves to remove her residence as quickly as possible. Although Edward is attentive to Elinor, his reserved behaviour makes it difficult for her to guess his intentions. Elinor does not encourage her relatives to hope for the marriage, although in her heart of hearts she secretly hopes for it.
One of Mrs. Dashwood's cousins, the wealthy Sir John Middleton, offers her a cottage on his Devonshire estate, Barton Park, and Mrs. Dashwood decides to accept. She and the girls find it tiny and dark compared to Norland, but try to make the best of it. They are warmly received by Sir John, who insists that they dine with him and his wife frequently at the great house of Barton Park and join the social life of his family. Also staying with Sir John and his reserved and insipid wife is his mother-in-law Mrs. Jennings, a rich and rather vulgar widow who is full of kindness and good humour and who immediately assigns herself the project of finding husbands for the Dashwood girls.
While visiting Sir John, the Dashwoods meet his old friend, the grave, quiet, but gentlemanly Colonel Brandon. It soon becomes apparent that Brandon is attracted to Marianne, and Mrs. Jennings teases them about it. Marianne is not pleased as she considers Colonel Brandon, at age 35, to be an old bachelor incapable of falling in love or inspiring love in anyone else.
A 19th century illustration showing Willoughby cutting a lock of Marianne's hair
Marianne, out for a walk, gets caught in the rain, slips, and sprains her ankle. The dashing, handsome John Willoughby, who is visiting his wealthy aunt, Mrs. Smith, in the area, happens to be out with his gun and friends hunting nearby and sees the accident. He carries Marianne home and soon wins her admiration with his good looks, romantic personality, and outspoken views on poetry, music and art. Willoughby appears the exact opposite of the quiet and reserved Brandon. He visits Marianne every day, and Elinor and Mrs. Dashwood begin to suspect that the couple are secretly engaged. Elinor is worried about Marianne's unguarded conduct in Willoughby's presence and cautions her, but Marianne refuses to check her emotions, believing this to be a falsehood. At a picnic outing, Willoughby and Marianne go off together to see the house and estate that Willoughby is to inherit. Elinor is greatly alarmed by Marianne's going off alone to visit a house, the owner of which - Mrs Smith - is unknown to her. Marianne is angry at Elinor's interference; Elinor assumes (as does Marianne) that Willoughby is showing Marianne the house of which she will be mistress upon their marriage. The next day Mrs Dashwood and Elinor find Marianne in hysterics after a morning visit by Willoughby; he informs them that his aunt is sending him to London on business and that he will not return to their area for as long as a year; he brushes aside an invitation to stay with the Dashwoods and leaves hurriedly. Marianne is distraught and feeds her sorrow by playing the music Willoughby brought for her and reading the books they enjoyed together.
Edward Ferrars pays the Dashwoods a short visit at Barton Cottage but seems unhappy and out of sorts. Elinor fears that he no longer has feelings for her. However, unlike Marianne, she does not allow anyone to see her wallow in her sadness, feeling it her duty to be outwardly calm for the sake of her mother and sisters, who dote on Edward and have firm faith in his love for Elinor.
Anne and Lucy Steele, rather vulgar and uneducated cousins of Lady Middleton, come to stay at Barton Park. Sir John tells Lucy as a joke that Elinor is attached to Edward, prompting Lucy to inform Elinor of her secret four year long engagement to Edward. Although Elinor initially blames Edward for engaging her affections when he was not free to do so, she realizes he became engaged to Lucy while he was young and naïve and perhaps has made a mistake. She thinks or hopes that Edward does not love Lucy, but he will not hurt or dishonour her by breaking their engagement. Elinor hides her disappointment and works to convince Lucy she feels nothing for Edward. This is particularly hard as she sees Lucy may not be sincerely in love with Edward and may only make him unhappy. Lucy tells Elinor that Mrs Ferrars will almost certainly disapprove of the match and that the couple plan to wait until she has died before marrying, unless Edward can find a way of supporting himself financially without her.
Elinor and Marianne spend the winter at Mrs. Jennings' home in London. Marianne writes a series of letters to Willoughby - prompting Elinor to believe that they are indeed engaged, as only engaged couples could properly correspond in this way. However, Marianne's letters go unanswered, and he snubs her coldly when he sees her at a ball. He later writes to Marianne, enclosing their former correspondence and love tokens, including a lock of her hair and informing her of his engagement to a Miss Grey, a high-born, wealthy woman with £50,000 (equivalent to about £1.7 million today). Marianne is devastated, and admits to Elinor that she and Willoughby were never engaged, but she loved him and he led her to believe he loved her.
Meanwhile, the truth about Willoughby's real character starts to emerge; Colonel Brandon tells Elinor that Willoughby had seduced Brandon's ward, fifteen-year-old Eliza Williams, and abandoned her when she became pregnant. Brandon was once in love with Miss Williams' mother, a woman who resembled Marianne and whose life was destroyed by an unhappy arranged marriage to the Colonel's brother.
Fanny Dashwood, who is also in London for the season, declines her husband's offer to invite the Dashwood girls to stay with her. Instead, she invites the Misses Steele. Lucy Steele becomes very arrogant and brags to Elinor that Fanny's mother, Mrs. Ferrars, favours her. Indeed Fanny and Mrs. Ferrars seem genuinely fond of Lucy - so much so that Miss Anne Steele decides to tell them of Lucy's engagement to Edward. When Mrs. Ferrars discovers Edward's and Lucy's engagement, she is furious while Fanny throws the Misses Steele out onto the street. Mrs. Ferrars demands that Edward end the engagement on pain of disinheritance. Edward, who believes it would be dishonorable to break off with Lucy, refuses and is disinherited in immediate favour of his brother, Robert. Elinor and Marianne feel sorry for Edward, and think him honourable for remaining engaged to a woman with whom he isn't in love.
Edward plans to become ordained as a parish vicar to earn his living and Colonel Brandon, knowing how lives can be ruined when love is denied, expresses his commiseration for Edward's deplorable circumstance to Elinor asking her to be his intermediary in offering Edward a parsonage on Brandon's estate at Delaford, with two hundred pounds a year. Colonel Brandon does not intend the living to enable Edward to marry Lucy as it would be insufficient to pay for a wife and family but intends it to provide Edward some sustenance until he can find something better. Elinor meets Edward's foppish brother Robert and is shocked he has no qualms about claiming his brother's inheritance.
The sisters end their winter stay in London and begin their return trip to Barton via Cleveland, the country estate of Mrs.Jennings' son-in-law, Mr. Palmer. There, miserable over Willoughby, Marianne neglects her health and becomes dangerously ill. Hearing of her serious illness, Willoughby arrives suddenly and reveals to Elinor that he truly loved Marianne, but since he was disinherited when his benefactress discovered his seduction of Miss Williams, he decided to marry the wealthy Miss Grey.
Elinor tells Marianne about Willoughby's visit. Marianne admits that although she loved Willoughby, she could not have been happy with the libertine father of an illegitimate child, even if he had stood by her. Marianne also realizes her illness was brought on by her wallowing in her grief, by her excessive sensibility, and had she died, it would have been morally equivalent to suicide. She now resolves to model herself after Elinor's courage and good sense.
The family learns Lucy has married Mr. Ferrars. When Mrs. Dashwood sees how upset Elinor is, she finally realizes how strong Elinor's feelings are for Edward and is sorry she did not pay more attention to her daughter's unhappiness. However, the next day Edward arrives and reveals it was his brother, Robert Ferrars, who married Lucy. He says he was trapped in his engagement to Lucy, "a woman he had long since ceased to love", and she broke the engagement to marry the now-wealthy Robert. Edward asks Elinor to marry him, and she agrees. Edward eventually becomes reconciled with his mother, who gives him ten thousand pounds. He also reconciles with his sister Fanny. Edward and Elinor marry and move into the parsonage at Delaford.
Mr. Willoughby's patroness eventually gives him his inheritance because of his prudent marriage. Willoughby realizes marrying Marianne would have produced the same effect; had he behaved honourably, he could have had love and money.
Over the next two years, Mrs. Dashwood, Marianne, and Margaret spend most of their time at Delaford. Marianne matures and, at the age of nineteen, decides to marry the 37-year-old Colonel. Although initially she found marriage to someone twenty years her senior repulsive, the gratitude and respect she has come to feel for him develop into a very deep love. The Colonel's house is near the parsonage where Elinor and Edward live, so the sisters and their husbands can visit each other often.
Characters
* Henry Dashwood — a wealthy gentleman who dies at the beginning of the story. The terms of his estate prevent him from leaving anything to his second wife and their children. He asks John, his son by his first wife, to look after (meaning ensure the financial security of) his second wife and their three daughters.
* Mrs. Dashwood — the second wife of Henry Dashwood, who is left in difficult financial straits by the death of her husband. She is 40 years old at the beginning of the book. Much like her daughter Marianne, she is very emotive and often makes poor decisions based on emotion rather than reason.
* Elinor Dashwood — the sensible and reserved eldest daughter of Mr. and Mrs. Henry Dashwood. She is 19 years old at the beginning of the book. She becomes attached to Edward Ferrars, the brother-in-law of her elder half-brother, John. Always feeling a keen sense of responsibility to her family and friends, she places their welfare and interests above her own, and suppresses her own strong emotions in a way that leads others to think she is indifferent or cold-hearted.
* Marianne Dashwood — the romantically inclined and eagerly expressive second daughter of Mr. and Mrs. Henry Dashwood. She is 16 years old at the beginning of the book. She is the object of the attentions of Colonel Brandon and Mr. Willoughby. She is attracted to young, handsome, romantically spirited Willoughby and does not think much of the older, more reserved Colonel Brandon. Marianne does the most development within the book, learning her sensibilities have been selfish. She decides her conduct should be more like her elder sister's, Elinor.
* Margaret Dashwood — the youngest daughter of Mr. and Mrs. Henry Dashwood. She is thirteen at the beginning of the book. She is also romantic and well-tempered but not expected to be as clever as her sisters when she grows older.
* John Dashwood — the son of Henry Dashwood by his first wife. He intends to do well by his half-sisters, but he has a keen sense of avarice, and is easily swayed by his wife.
* Fanny Dashwood — the wife of John Dashwood, and sister to Edward and Robert Ferrars. She is vain, selfish, and snobbish. She spoils her son Harry. Very harsh to her husband's half-sisters and stepmother, especially since she fears her brother Edward is attached to Elinor.
* Sir John Middleton — a distant relative of Mrs. Dashwood who, after the death of Henry Dashwood, invites her and her three daughters to live in a cottage on his property. Described as a wealthy, sporting man who served in the army with Colonel Brandon, he is very affable and keen to throw frequent parties, picnics, and other social gatherings to bring together the young people of their village. He and his mother-in-law, Mrs. Jennings, make a jolly, teasing, and gossipy pair.
* Lady Middleton — the genteel, but reserved wife of Sir John Middleton, she is quieter than her husband, and is primarily concerned with mothering her four spoiled children.
* Mrs. Jennings — mother to Lady Middleton and Charlotte Palmer. A widow who has married off all her children, she spends most of her time visiting her daughters and their families, especially the Middletons. She and her son-in-law, Sir John Middleton, take an active interest in the romantic affairs of the young people around them and seek to encourage suitable matches, often to the particular chagrin of Elinor and Marianne.
* Edward Ferrars — the elder of Fanny Dashwood's two brothers. He forms an attachment to Elinor Dashwood. Years before meeting the Dashwoods, Ferrars proposed to Lucy Steele, the niece of his tutor. The engagement has been kept secret owing to the expectation that Ferrars' family would object to his marrying Miss Steele. He is disowned by his mother on discovery of the engagement after refusing to give up the engagement.
* Robert Ferrars — the younger brother of Edward Ferrars and Fanny Dashwood, he is most concerned about status, fashion, and his new barouche. He subsequently marries Miss Lucy Steele after Edward is disowned.
* Mrs. Ferrars — Fanny Dashwood and Edward and Robert Ferrars' mother. A bad-tempered, unsympathetic woman who embodies all the foibles demonstrated in Fanny and Robert's characteristics. She is determined that her sons should marry well.
* Colonel Brandon — a close friend of Sir John Middleton. In his youth, Brandon had fallen in love with his father's ward, but was prevented by his family from marrying her because his father was determined to marry her to his older brother. He was sent into the military abroad to be away from her, and while gone, the girl suffered numerous misfortunes partly as a consequence of her unhappy marriage, finally dying penniless and disgraced, and with a natural (i.e., illegitimate) daughter, who becomes the ward of the Colonel. He is 35 years old at the beginning of the book. He falls in love with Marianne at first sight as she reminds him of his father's ward. He is very honorable friend to the Dashwoods, particularly Elinor, and offers Edward Ferrars a living after being disowned by his mother.
* John Willoughby — a philandering nephew of a neighbour of the Middletons, a dashing figure who charms Marianne and shares her artistic and cultural sensibilities. It is generally understood that he is engaged to be married to Marianne by many of their mutual acquaintances.
* Charlotte Palmer — the daughter of Mrs. Jennings and the younger sister of Lady Middleton, Mrs. Palmer is jolly but empty-headed and laughs at inappropriate things, such as her husband's continual rudeness to her and to others.
* Thomas Palmer — the husband of Charlotte Palmer who is running for a seat in Parliament, but is idle and often rude.
* Lucy Steele — a young, distant relation of Mrs. Jennings, who has for some time been secretly engaged to Edward Ferrars. She assiduously cultivates the friendship with Elinor Dashwood and Mrs. John Dashwood. Limited in formal education and financial means, she is nonetheless attractive, clever, manipulative, cunning and scheming.
* Anne/Nancy Steele — Lucy Steele's elder, socially inept, and less clever sister.
* Miss Sophia Grey — a wealthy but malicious heiress whom Mr. Willoughby marries in order to retain his comfortable lifestyle after he is disinherited by his aunt.
* Lord Morton — the father of Miss Morton.
* Miss Morton — a wealthy woman whom Mrs. Ferrars wants her eldest son, Edward, and later Robert, to marry.
* Mr. Pratt — an uncle of Lucy Steele and Edward's tutor.
* Eliza Williams — the ward of Col. Brandon, she is about 15 years old and bore an illegitimate son to John Willoughby. She is the daughter of Elizabeth Williams.
* Elizabeth Williams — the former love interest of Colonel Brandon. Williams is Brandon's father's ward, and is forced to marry Brandon's older brother. The marriage is an unhappy one, and it is revealed that her daughter is left as Colonel Brandon's ward when he finds his lost love dying in a poorhouse.
* Mrs. Smith — the wealthy aunt of Mr. Willoughby who disowns him for not marrying Eliza Williams.
Critical appraisal
Austen wrote the first draft of Elinor and Marianne (later retitled Sense and Sensibility) in epistolary form sometime around 1795 when she was about 19 years old. While she had written a great deal of short fiction in her teens, Elinor and Marianne was her first full-length novel. The plot revolves around a contrast between Elinor's sense and Marianne's emotionalism; the two sisters may have been loosely based on the author and her beloved elder sister, Cassandra, with Austen casting Cassandra as the restrained and well-judging sister and herself as the emotional one.
Austen clearly intended to vindicate Elinor's sense and self-restraint, and on the simplest level, the novel may be read as a parody of the full-blown romanticism and sensibility that was fashionable around the 1790s. Yet Austen's treatment of the two sisters is complex and multi-faceted. Austen biographer Claire Tomalin argues that Sense and Sensibility has a "wobble in its approach", which developed because Austen, in the course of writing the novel, gradually became less certain about whether sense or sensibility should triumph. She endows Marianne with every attractive quality: intelligence, musical talent, frankness, and the capacity to love deeply. She also acknowledges that Willoughby, with all his faults, continues to love and, in some measure, appreciate Marianne. For these reasons, some readers find Marianne's ultimate marriage to Colonel Brandon an unsatisfactory ending. The ending does, however, neatly join the themes of sense and sensibility by having the sensible sister marry her true love after long, romantic obstacles to their union, while the emotional sister finds happiness with a man whom she did not initially love, but who was an eminently sensible and satisfying choice of a husband.
The novel displays Austen's subtle irony at its best, with many outstanding comic passages about the Middletons, the Palmers, Mrs. Jennings, and Lucy Steele.
Publication
In 1811, Thomas Egerton of the Military Library publishing house in London accepted the manuscript for publication, in three volumes. Austen paid for the book to be published and paid the publisher a commission on sales. The cost of publication was more than a third of Austen's annual household income of £460 (about £15,282 in 2008 currency). She made a profit of £140 (£4,754.40 in 2008 currency) on the first edition, which sold all 750 printed copies by July 1813. A second edition was advertised in October 1813.
lín shí bèi zhuā zhuàng dīng de HughDancy zì gào fèn yǒng fù zé piān fú zuì duǎn de《 nuò sāng jué sì》。 duì yú 'ào sī dīng nǚ shì， tā yuán běn yī wú suǒ zhī， zhǐ zhī dào jué dì wǔ shì de kē huàn shì jiè， yīn wéi xǐ huān de nǚ shì yāo qǐng， tā cái jìn rù 'ào sī dīng de shì jiè， bùwèi bié de， zhǐ wèile zì jǐ xǐ huān de rén。
Plot introduction
Northanger Abbey follows seventeen-year-old Gothic novel aficionado Catherine Morland and family friends Mr. and Mrs. Allen as they visit Bath, England. Catherine is in Bath for the first time. There she meets her friends such as Isabella Thorpe, and goes to balls. Catherine finds herself pursued by Isabella's brother, the rather rough-mannered dandy John Thorpe, and by her real love interest, Henry Tilney. She also becomes friends with Eleanor Tilney, Henry's younger sister. Henry captivates her with his view on novels and his knowledge of history and the world. General Tilney (Henry and Eleanor's father) invites Catherine to visit their estate, Northanger Abbey, which, from her reading of Ann Radcliffe's gothic novel The Mysteries of Udolpho, she expects to be dark, ancient and full of Gothic horrors and fantastical mystery.
Plot summary
Seventeen year old Catherine Morland is one of ten children of a country clergyman. Although a tomboy in her childhood, by the age of 17 she is "in training for a heroine," and is excessively fond of reading Gothic novels of which Ann Radcliffe's Mysteries of Udolpho is a favourite.
Catherine is invited by her wealthier neighbours in Fullerton, the Allens, to accompany them to visit the resort town of Bath and partake in the winter season of balls, theatre and other social delights. Although initially the excitement of Bath is dampened by her lack of acquaintances, she is soon introduced to a clever young gentleman named Henry Tilney, with whom she dances and converses. Much to her disappointment, Catherine does not see Mr. Tilney again soon after their first meeting, though her attention is quickly engaged when Mrs. Allen meets Mrs. Thorpe, an old school friend of hers, whose son is also acquainted with Catherine’s older brother, James. Catherine quickly becomes friends with the eldest Ms. Thorpe, Isabella, a vivacious and flirtatious young woman.
Catherine’s brother James and Isabella’s brother John soon arrive in Bath. While Isabella and James are spending time together, Catherine becomes acquainted with John, a vain and crude young gentleman who incessantly tells fantastical stories about himself.
Mr. Tilney returns to Bath, accompanied by his younger sister, Eleanor Tilney, who is a sweet, elegant and respectable young lady. Catherine also meets their father, the imposing General Tilney.
The Thorpes are not very happy about Catherine's friendship with the Tilneys, as they (correctly as it happens) perceive Henry as a rival for Catherine's affections. Catherine tries to maintain her friendships with both the Thorpes and the Tilneys, though John Thorpe continually tries to sabotage her relationship with the Tilneys. This leads to several misunderstandings, which upset Catherine and put her in the awkward position of explaining herself to the Tilneys.
Isabella and James become engaged. Mr Morland (senior) approves the match and offers James a country parson's living worth a modest sum, which he will be able to have in two years. The couple must therefore wait that long to marry. Isabella is dissatisfied, having believed the Morlands to be quite wealthy, but she pretends to Catherine that she is merely dissatisfied that they must wait so long to be married. James departs to purchase a ring, and John accompanies him after coyly suggesting marriage to the confused Catherine. Isabella immediately begins to flirt with Captain Tilney, the older brother to Henry. Innocent Catherine cannot understand her friend's behavior; but Henry understands it all too well, as he knows his brother's character and habits. The flirtation continues even when James returns, much to James' embarrassment and distress.
The Tilneys invite Catherine to stay with them for a few weeks at their home, Northanger Abbey. Catherine, in accordance with her novel reading, expects the Abbey to be exotic and frightening. Henry teases her about this, as it turns out that Northanger Abbey is pleasant and decidedly un-Gothic. However, there is a mysterious suite of rooms that no one ever goes into: Catherine learns that they were Mrs. Tilney's, who died nine years earlier. Catherine decides that, since General Tilney does not now seem to be affected by the loss of his wife, he may have murdered her or even imprisoned her in her chamber.
Catherine persuades Eleanor to show her Mrs. Tilney's rooms, but General Tilney suddenly appears. Catherine flees, sure that she will be punished. Later, Catherine sneaks back to Mrs. Tilney's rooms, to discover that her overactive imagination has once again led her astray, as nothing is strange or distressing in the rooms at all. Unfortunately, Henry passes in the corridor and questions her as to what she is doing. On hearing her (reluctantly admitted) suspicions, Henry angrily informs her that his father loved his wife in his own way and was truly upset by her death. He goes on to criticize Catherine for entertaining such wild ideas. She leaves crying, fearing that she has lost Henry’s entire regard.
Realizing how foolish she had been, Catherine comes to understand that, though novels may be delightful, their content does not relate to everyday life. Henry does not stay angry with her but lets her get over her shameful thoughts and actions in her own time and does not mention them to her again.
Soon after this adventure, James writes to inform her that he has broken off his engagement with Isabella because of her flirtations with Captain Tilney. The Tilneys are shocked; and Catherine is terribly disappointed, realizing what a dishonest person Isabella is, though she will miss her as a friend. The General goes off to London, and Eleanor becomes less inhibited and shy away from his imposing presence. In General Tilney's absence, Catherine passes several enjoyable days with Henry and Eleanor until he returns abruptly, in a temper. Eleanor tells Catherine that the family has an engagement that prevents Catherine from staying any longer and that she must go home early the next morning, in a shocking, inhospitable move that forces Catherine to undertake the seventy-mile journey alone.
At home, Catherine is listless and unhappy. Her parents, unaware of her trials of the heart, try to bring her up to her usual spirits, with little effect. Two days after she returns home, however, Henry pays a sudden unexpected visit and explains what happened. General Tilney had believed (on the misinformation of John Thorpe) her to be exceedingly rich and therefore a proper match for Henry. In London, General Tilney ran into Thorpe again, who, angry at Catherine's refusal of his half-made proposal of marriage, said instead that she was nearly destitute. Enraged, General Tilney returned home to evict Catherine. When Henry returned to Northanger from Woodston, his father informed him of what had occurred and forbade him to think of Catherine again. When Henry argued and learned how she had been treated, he breaks with his father and tells Catherine he still wants to marry her despite his father's disapproval. Catherine is delighted.
Eventually, General Tilney acquiesces, because Eleanor has become engaged to a wealthy and titled man; and he discovers that the Morlands, while not extremely rich, are far from destitute.
Characters
Catherine Morland: A 17-year-old girl who loves reading Gothic novels. Something of a tomboy in her childhood, her looks are described by the narrator as "pleasing, and, when in good looks, pretty." Catherine lacks experience and sees her life as if she were a heroine in a Gothic novel. She sees the best in people, and to begin with always seems ignorant of other people's malignant intentions. She is the devoted sister of James Morland. She is good-natured and frank and often makes insightful comments on the inconsistencies and insincerities of people around her, usually to Henry Tilney, and thus is unintentionally sarcastic and funny. She is also seen as a humble and modest character, becoming exceedingly happy when she receives the smallest compliment. Catherine's character grows throughout the novel, as she gradually becomes a real heroine, learning from her mistakes when she is exposed to the outside world in Bath. She sometimes makes the mistake of applying Gothic novels to real life situations; for example, later in the novel she begins to suspect General Tilney of having murdered his deceased wife. Catherine soon learns that Gothic novels are really just fiction and do not always correspond with reality.
Henry Tilney: A well-read clergyman in his mid-20s, the younger son of the wealthy Tilney family. He is Catherine's romantic interest throughout the novel, and during the course of the plot he comes to return her feelings. He is sarcastic, intuitive, and clever, given to witticisms and light flirtations (which Catherine is not always able to understand or reciprocate in kind), but he also has a sympathetic nature (he is a good brother to Eleanor), which leads him to take a liking to Catherine's naïve straightforward sincerity.
John Thorpe: An arrogant and extremely boastful young man who certainly appears distasteful to the likes of Catherine. He is Isabella's brother and he has a crush on Catherine Morland.
Isabella Thorpe: A manipulative and self-serving young woman on a quest to obtain a well-off husband; at the time, marriage was the accepted way for young women of a certain class to become "established" with a household of their own (as opposed to becoming a dependent spinster), and Isabella lacks most assets (such as wealth or family connections to bring to a marriage) that would make her a "catch" on the "marriage market". Upon her arrival in Bath she is without acquaintance, leading her to immediately form a quick friendship with Catherine Morland. Additionally, when she learns that Catherine is the sister to James Morland (whom Isabella suspects to be worth more than he is in reality), she goes to every length to ensure a connection between the two families.
General Tilney: A stern and rigid retired general with an obsessive nature, General Tilney is the sole surviving parent to his three children Frederick, Henry, and Eleanor.
Eleanor Tilney: Henry's sister, she plays little part in Bath, but takes on more importance in Northanger Abbey. A convenient chaperon for Catherine and Henry's times together. Obedient daughter, warm friend, sweet sister, but lonely under her father's tyranny.
Frederick Tilney: Henry's older brother (the presumed heir to the Northanger estate), an officer in the army who enjoys pursuing flirtations with pretty girls who are willing to offer him some encouragement (though without any ultimate serious intent on his part).
Mr. Allen: A kindly man, with some slight resemblance to Mr. Bennet of Pride and Prejudice.
Mrs. Allen: Somewhat vacuous, she sees everything in terms of her obsession with clothing and fashion, and has a tendency to utter repetitions of remarks made by others in place of original conversation.
Major themes
* The intricacies and tedium of high society, particularly partner selection.
* The conflicts of marriage for love and marriage for property.
* Life lived as if in a Gothic novel, filled with danger and intrigue, and the obsession with all things gothic.
* The dangers of believing life is the same as fiction.
* The maturation of the young into skeptical adulthood, the loss of imagination, innocence and good faith.
* Things are not what they seem at first.
* Social criticism (comedy of manners).
* Parody of the gothic novels' "gothic and anti-gothic" attitudes.
In addition, Catherine Morland realises she is not to rely upon others, such as Isabella, who are negatively influential on her, but to be single minded and independent. It is only through bad experiences that Catherine really begins to properly mature and grow up.
Allusions/references to other works
Several Gothic novels are mentioned in the book, including most importantly The Mysteries of Udolpho and The Italian by Ann Radcliffe. Austen also satirizes Clermont, a Gothic novel by Regina Maria Roche. This last is included in a list of seven somewhat obscure Gothic works, known as the 'Northanger horrid novels' as recommended by Isabella Thorpe to Catherine Morland:
“Dear creature! how much I am obliged to you; and when you have finished Udolpho, we will read The Italian together; and I have made out a list of ten or twelve more of the same kind for you.”
“Have you, indeed! How glad I am! — What are they all?”
“I will read you their names directly; here they are, in my pocket-book. Castle of Wolfenbach, Clermont, Mysterious Warnings, Necromancer of the Black Forest, Midnight Bell, Orphan of the Rhine, and Horrid Mysteries. Those will last us some time.”
“Yes, pretty well; but are they all horrid, are you sure they are all horrid?”
“Yes, quite sure; for a particular friend of mine, a Miss Andrews, a sweet girl, one of the sweetest creatures in the world, has read every one of them...”
Though these lurid titles were assumed by some to be Austen's own invention, later researches by Montague Summers and Michael Sadleir discovered that they did really exist. There have since been various attempts to republish them (all seven in hardback by the Folio Society; The Necromancer and The Midnight Bell from a projected but abandoned series edited by Lucien Jenkins for Skoob Books Publishing and now a new series by Valancourt Books).
Jane Austen, who referred to Frances Burney d'Arblay as "the first of English novelists," in Northanger Abbey refers to her inspiring novels: “'And what are you reading, Miss — ?' 'Oh! It is only a novel!' replies the young lady, while she lays down her book with affected indifference, or momentary shame. 'It is only Cecilia, or Camilla, or Belinda'; or, in short, only some work in which the greatest powers of the mind are displayed, in which the most thorough knowledge of human nature, the happiest delineation of its varieties, the liveliest effusions of wit and humour, are conveyed to the world in the best–chosen language."
Later on, a character who knows little about literature and has just stated that the only recent novel he likes is The Monk (an over-the-top tale of lurid Gothic horror), the rest being "stupid," says: "...'I was thinking of that other stupid book , written by that woman they make such a fuss about, she who married the French emigrant.' 'I suppose you mean Camilla? 'Yes, that's the book; such unnatural stuff!... it is the horridest nonsense you can imagine; there's nothing in the world in it but an old man's playing at see-saw and learning Latin...' This critique, the justness of which was unfortunately lost on poor Catherine, brought them to the door of Mrs. Thorpe's lodgings."
Literary significance & criticism
Northanger Abbey is fundamentally a parody of Gothic fiction. Austen turns the conventions of eighteenth-century novels on their head, by making her heroine a plain and undistinguished girl from a middle-class family, allowing the heroine to fall in love with the hero before he has a serious thought of her, and exposing the heroine's romantic fears and curiosities as groundless. Austen biographer Claire Tomalin speculates that Austen may have begun this book, which is more explicitly comic than her other works and contains many literary allusions that her parents and siblings would have enjoyed, as a family entertainment—a piece of lighthearted parody to be read aloud by the fireside.
Northanger Abbey exposes the difference between reality and fantasy and questions who can be trusted as a true companion and who might actually be a shallow, false friend. It is considered to be the most light-hearted of her novels.
Film, TV or theatrical adaptations
* The A&E Network and the BBC released the television adaptation Northanger Abbey in 1986.
* An adaptation of Northanger Abbey with screenplay by Andrew Davies, was shown on ITV on 25 March 2007 as part of their "Jane Austen Season". This adaptation aired on PBS in the United States as part of the "Complete Jane Austen" on Masterpiece Classic in January, 2008.
* Pup Fiction – an episode of Wishbone featuring the plot and characters of Austen's Northanger Abbey.
As yet, there has not been a motion picture adaptation of the novel.
Trivia
This novel contains one of the earliest occurrences of the word "baseball" in print (probably referring to a variant of rounders, played by Catherine Morland with other children during her tomboy days).
A passage from the novel appears as the preface of Ian McEwan's Atonement, thus likening the naive mistakes of Austen's Catherine Morland to those of his own character Briony Tallis, who is in a similar position: both characters have very over-active imaginations, which lead to misconceptions that cause distress in the lives of people around them. Both treat their own lives like those of heroines in fantastical works of fiction, with Miss Morland likening herself to a character in a Gothic novel and young Briony Tallis writing her own melodramatic stories and plays with central characters such as "spontaneous Arabella" based on herself.
Plot introduction
Northanger Abbey follows seventeen-year-old Gothic novel aficionado Catherine Morland and family friends Mr. and Mrs. Allen as they visit Bath, England. Catherine is in Bath for the first time. There she meets her friends such as Isabella Thorpe, and goes to balls. Catherine finds herself pursued by Isabella's brother, the rather rough-mannered dandy John Thorpe, and by her real love interest, Henry Tilney. She also becomes friends with Eleanor Tilney, Henry's younger sister. Henry captivates her with his view on novels and his knowledge of history and the world. General Tilney (Henry and Eleanor's father) invites Catherine to visit their estate, Northanger Abbey, which, from her reading of Ann Radcliffe's gothic novel The Mysteries of Udolpho, she expects to be dark, ancient and full of Gothic horrors and fantastical mystery.
Plot summary
Seventeen year old Catherine Morland is one of ten children of a country clergyman. Although a tomboy in her childhood, by the age of 17 she is "in training for a heroine," and is excessively fond of reading Gothic novels of which Ann Radcliffe's Mysteries of Udolpho is a favourite.
Catherine is invited by her wealthier neighbours in Fullerton, the Allens, to accompany them to visit the resort town of Bath and partake in the winter season of balls, theatre and other social delights. Although initially the excitement of Bath is dampened by her lack of acquaintances, she is soon introduced to a clever young gentleman named Henry Tilney, with whom she dances and converses. Much to her disappointment, Catherine does not see Mr. Tilney again soon after their first meeting, though her attention is quickly engaged when Mrs. Allen meets Mrs. Thorpe, an old school friend of hers, whose son is also acquainted with Catherine’s older brother, James. Catherine quickly becomes friends with the eldest Ms. Thorpe, Isabella, a vivacious and flirtatious young woman.
Catherine’s brother James and Isabella’s brother John soon arrive in Bath. While Isabella and James are spending time together, Catherine becomes acquainted with John, a vain and crude young gentleman who incessantly tells fantastical stories about himself.
Mr. Tilney returns to Bath, accompanied by his younger sister, Eleanor Tilney, who is a sweet, elegant and respectable young lady. Catherine also meets their father, the imposing General Tilney.
The Thorpes are not very happy about Catherine's friendship with the Tilneys, as they (correctly as it happens) perceive Henry as a rival for Catherine's affections. Catherine tries to maintain her friendships with both the Thorpes and the Tilneys, though John Thorpe continually tries to sabotage her relationship with the Tilneys. This leads to several misunderstandings, which upset Catherine and put her in the awkward position of explaining herself to the Tilneys.
Isabella and James become engaged. Mr Morland (senior) approves the match and offers James a country parson's living worth a modest sum, which he will be able to have in two years. The couple must therefore wait that long to marry. Isabella is dissatisfied, having believed the Morlands to be quite wealthy, but she pretends to Catherine that she is merely dissatisfied that they must wait so long to be married. James departs to purchase a ring, and John accompanies him after coyly suggesting marriage to the confused Catherine. Isabella immediately begins to flirt with Captain Tilney, the older brother to Henry. Innocent Catherine cannot understand her friend's behavior; but Henry understands it all too well, as he knows his brother's character and habits. The flirtation continues even when James returns, much to James' embarrassment and distress.
The Tilneys invite Catherine to stay with them for a few weeks at their home, Northanger Abbey. Catherine, in accordance with her novel reading, expects the Abbey to be exotic and frightening. Henry teases her about this, as it turns out that Northanger Abbey is pleasant and decidedly un-Gothic. However, there is a mysterious suite of rooms that no one ever goes into: Catherine learns that they were Mrs. Tilney's, who died nine years earlier. Catherine decides that, since General Tilney does not now seem to be affected by the loss of his wife, he may have murdered her or even imprisoned her in her chamber.
Catherine persuades Eleanor to show her Mrs. Tilney's rooms, but General Tilney suddenly appears. Catherine flees, sure that she will be punished. Later, Catherine sneaks back to Mrs. Tilney's rooms, to discover that her overactive imagination has once again led her astray, as nothing is strange or distressing in the rooms at all. Unfortunately, Henry passes in the corridor and questions her as to what she is doing. On hearing her (reluctantly admitted) suspicions, Henry angrily informs her that his father loved his wife in his own way and was truly upset by her death. He goes on to criticize Catherine for entertaining such wild ideas. She leaves crying, fearing that she has lost Henry’s entire regard.
Realizing how foolish she had been, Catherine comes to understand that, though novels may be delightful, their content does not relate to everyday life. Henry does not stay angry with her but lets her get over her shameful thoughts and actions in her own time and does not mention them to her again.
Soon after this adventure, James writes to inform her that he has broken off his engagement with Isabella because of her flirtations with Captain Tilney. The Tilneys are shocked; and Catherine is terribly disappointed, realizing what a dishonest person Isabella is, though she will miss her as a friend. The General goes off to London, and Eleanor becomes less inhibited and shy away from his imposing presence. In General Tilney's absence, Catherine passes several enjoyable days with Henry and Eleanor until he returns abruptly, in a temper. Eleanor tells Catherine that the family has an engagement that prevents Catherine from staying any longer and that she must go home early the next morning, in a shocking, inhospitable move that forces Catherine to undertake the seventy-mile journey alone.
At home, Catherine is listless and unhappy. Her parents, unaware of her trials of the heart, try to bring her up to her usual spirits, with little effect. Two days after she returns home, however, Henry pays a sudden unexpected visit and explains what happened. General Tilney had believed (on the misinformation of John Thorpe) her to be exceedingly rich and therefore a proper match for Henry. In London, General Tilney ran into Thorpe again, who, angry at Catherine's refusal of his half-made proposal of marriage, said instead that she was nearly destitute. Enraged, General Tilney returned home to evict Catherine. When Henry returned to Northanger from Woodston, his father informed him of what had occurred and forbade him to think of Catherine again. When Henry argued and learned how she had been treated, he breaks with his father and tells Catherine he still wants to marry her despite his father's disapproval. Catherine is delighted.
Eventually, General Tilney acquiesces, because Eleanor has become engaged to a wealthy and titled man; and he discovers that the Morlands, while not extremely rich, are far from destitute.
Characters
Catherine Morland: A 17-year-old girl who loves reading Gothic novels. Something of a tomboy in her childhood, her looks are described by the narrator as "pleasing, and, when in good looks, pretty." Catherine lacks experience and sees her life as if she were a heroine in a Gothic novel. She sees the best in people, and to begin with always seems ignorant of other people's malignant intentions. She is the devoted sister of James Morland. She is good-natured and frank and often makes insightful comments on the inconsistencies and insincerities of people around her, usually to Henry Tilney, and thus is unintentionally sarcastic and funny. She is also seen as a humble and modest character, becoming exceedingly happy when she receives the smallest compliment. Catherine's character grows throughout the novel, as she gradually becomes a real heroine, learning from her mistakes when she is exposed to the outside world in Bath. She sometimes makes the mistake of applying Gothic novels to real life situations; for example, later in the novel she begins to suspect General Tilney of having murdered his deceased wife. Catherine soon learns that Gothic novels are really just fiction and do not always correspond with reality.
Henry Tilney: A well-read clergyman in his mid-20s, the younger son of the wealthy Tilney family. He is Catherine's romantic interest throughout the novel, and during the course of the plot he comes to return her feelings. He is sarcastic, intuitive, and clever, given to witticisms and light flirtations (which Catherine is not always able to understand or reciprocate in kind), but he also has a sympathetic nature (he is a good brother to Eleanor), which leads him to take a liking to Catherine's naïve straightforward sincerity.
John Thorpe: An arrogant and extremely boastful young man who certainly appears distasteful to the likes of Catherine. He is Isabella's brother and he has a crush on Catherine Morland.
Isabella Thorpe: A manipulative and self-serving young woman on a quest to obtain a well-off husband; at the time, marriage was the accepted way for young women of a certain class to become "established" with a household of their own (as opposed to becoming a dependent spinster), and Isabella lacks most assets (such as wealth or family connections to bring to a marriage) that would make her a "catch" on the "marriage market". Upon her arrival in Bath she is without acquaintance, leading her to immediately form a quick friendship with Catherine Morland. Additionally, when she learns that Catherine is the sister to James Morland (whom Isabella suspects to be worth more than he is in reality), she goes to every length to ensure a connection between the two families.
General Tilney: A stern and rigid retired general with an obsessive nature, General Tilney is the sole surviving parent to his three children Frederick, Henry, and Eleanor.
Eleanor Tilney: Henry's sister, she plays little part in Bath, but takes on more importance in Northanger Abbey. A convenient chaperon for Catherine and Henry's times together. Obedient daughter, warm friend, sweet sister, but lonely under her father's tyranny.
Frederick Tilney: Henry's older brother (the presumed heir to the Northanger estate), an officer in the army who enjoys pursuing flirtations with pretty girls who are willing to offer him some encouragement (though without any ultimate serious intent on his part).
Mr. Allen: A kindly man, with some slight resemblance to Mr. Bennet of Pride and Prejudice.
Mrs. Allen: Somewhat vacuous, she sees everything in terms of her obsession with clothing and fashion, and has a tendency to utter repetitions of remarks made by others in place of original conversation.
Major themes
* The intricacies and tedium of high society, particularly partner selection.
* The conflicts of marriage for love and marriage for property.
* Life lived as if in a Gothic novel, filled with danger and intrigue, and the obsession with all things gothic.
* The dangers of believing life is the same as fiction.
* The maturation of the young into skeptical adulthood, the loss of imagination, innocence and good faith.
* Things are not what they seem at first.
* Social criticism (comedy of manners).
* Parody of the gothic novels' "gothic and anti-gothic" attitudes.
In addition, Catherine Morland realises she is not to rely upon others, such as Isabella, who are negatively influential on her, but to be single minded and independent. It is only through bad experiences that Catherine really begins to properly mature and grow up.
Allusions/references to other works
Several Gothic novels are mentioned in the book, including most importantly The Mysteries of Udolpho and The Italian by Ann Radcliffe. Austen also satirizes Clermont, a Gothic novel by Regina Maria Roche. This last is included in a list of seven somewhat obscure Gothic works, known as the 'Northanger horrid novels' as recommended by Isabella Thorpe to Catherine Morland:
“Dear creature! how much I am obliged to you; and when you have finished Udolpho, we will read The Italian together; and I have made out a list of ten or twelve more of the same kind for you.”
“Have you, indeed! How glad I am! — What are they all?”
“I will read you their names directly; here they are, in my pocket-book. Castle of Wolfenbach, Clermont, Mysterious Warnings, Necromancer of the Black Forest, Midnight Bell, Orphan of the Rhine, and Horrid Mysteries. Those will last us some time.”
“Yes, pretty well; but are they all horrid, are you sure they are all horrid?”
“Yes, quite sure; for a particular friend of mine, a Miss Andrews, a sweet girl, one of the sweetest creatures in the world, has read every one of them...”
Though these lurid titles were assumed by some to be Austen's own invention, later researches by Montague Summers and Michael Sadleir discovered that they did really exist. There have since been various attempts to republish them (all seven in hardback by the Folio Society; The Necromancer and The Midnight Bell from a projected but abandoned series edited by Lucien Jenkins for Skoob Books Publishing and now a new series by Valancourt Books).
Jane Austen, who referred to Frances Burney d'Arblay as "the first of English novelists," in Northanger Abbey refers to her inspiring novels: “'And what are you reading, Miss — ?' 'Oh! It is only a novel!' replies the young lady, while she lays down her book with affected indifference, or momentary shame. 'It is only Cecilia, or Camilla, or Belinda'; or, in short, only some work in which the greatest powers of the mind are displayed, in which the most thorough knowledge of human nature, the happiest delineation of its varieties, the liveliest effusions of wit and humour, are conveyed to the world in the best–chosen language."
Later on, a character who knows little about literature and has just stated that the only recent novel he likes is The Monk (an over-the-top tale of lurid Gothic horror), the rest being "stupid," says: "...'I was thinking of that other stupid book , written by that woman they make such a fuss about, she who married the French emigrant.' 'I suppose you mean Camilla? 'Yes, that's the book; such unnatural stuff!... it is the horridest nonsense you can imagine; there's nothing in the world in it but an old man's playing at see-saw and learning Latin...' This critique, the justness of which was unfortunately lost on poor Catherine, brought them to the door of Mrs. Thorpe's lodgings."
Literary significance & criticism
Northanger Abbey is fundamentally a parody of Gothic fiction. Austen turns the conventions of eighteenth-century novels on their head, by making her heroine a plain and undistinguished girl from a middle-class family, allowing the heroine to fall in love with the hero before he has a serious thought of her, and exposing the heroine's romantic fears and curiosities as groundless. Austen biographer Claire Tomalin speculates that Austen may have begun this book, which is more explicitly comic than her other works and contains many literary allusions that her parents and siblings would have enjoyed, as a family entertainment—a piece of lighthearted parody to be read aloud by the fireside.
Northanger Abbey exposes the difference between reality and fantasy and questions who can be trusted as a true companion and who might actually be a shallow, false friend. It is considered to be the most light-hearted of her novels.
Film, TV or theatrical adaptations
* The A&E Network and the BBC released the television adaptation Northanger Abbey in 1986.
* An adaptation of Northanger Abbey with screenplay by Andrew Davies, was shown on ITV on 25 March 2007 as part of their "Jane Austen Season". This adaptation aired on PBS in the United States as part of the "Complete Jane Austen" on Masterpiece Classic in January, 2008.
* Pup Fiction – an episode of Wishbone featuring the plot and characters of Austen's Northanger Abbey.
As yet, there has not been a motion picture adaptation of the novel.
Trivia
This novel contains one of the earliest occurrences of the word "baseball" in print (probably referring to a variant of rounders, played by Catherine Morland with other children during her tomboy days).
A passage from the novel appears as the preface of Ian McEwan's Atonement, thus likening the naive mistakes of Austen's Catherine Morland to those of his own character Briony Tallis, who is in a similar position: both characters have very over-active imaginations, which lead to misconceptions that cause distress in the lives of people around them. Both treat their own lives like those of heroines in fantastical works of fiction, with Miss Morland likening herself to a character in a Gothic novel and young Briony Tallis writing her own melodramatic stories and plays with central characters such as "spontaneous Arabella" based on herself.