Sense and Sensibility[理智与情感] [平装] 下载 mobi epub pdf 电子书 2024

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美国文学评论巨匠爱德蒙·威尔逊说：“在英国文学近一又四分之一世纪的历史上，曾发生过几次趣味的革命，惟独莎士比亚和简·奥斯丁经久不衰。”《理智与情感》是奥斯丁处女作，与《傲慢与偏见》堪称姐妹篇。

内容简介

When Mr. Dashwood dies, he must leave the bulk of his estate to the son by his first marriage, which leaves his second wife and three daughters (Elinor, Marianne, and Margaret) in straitened circumstances. They are taken in by a kindly cousin, but their lack of fortune affects the marriageability of both practical Elinor and romantic Marianne. When Elinor forms an attachment for the wealthy Edward Ferrars, his family disapproves and separates them. And though Mrs. Jennings tries to match the worthy (and rich) Colonel Brandon to her, Marianne finds the dashing and fiery Willoughby more to her taste. Both relationships are sorely tried. But this is a romance, and through the hardships and heartbreak, true love and a happy ending will find their way for both the sister who is all sense and the one who is all sensibility.

The Dashwood sisters are very different from each other in appearance and temperament; Elinor's good sense and readiness to observe social forms contrast with Marianne's impulsive candor and warm but excessive sensibility. Both struggle to maintain their integrity and find happiness in the face of a competitive marriage market.

《理智与情感》讲述了：埃莉诺和玛丽安两姐妹生在一个体面的英国乡绅家庭，姐姐善于用理智来控制情感，妹妹却往往在情感上毫无节制，因此在恋爱中碰到挫折时，她们作出了不同的反应：姐姐忍辱负重，始终与人为善；妹妹心高气傲，几近崩溃……与主人公命运情牵相关的闲得发慌的乡绅太太，势利无情的兄嫂一家，市侩虚伪的远房姐妹，以及少女心中那三位或道德败坏或正直优柔的恋人悉数登场。全书以喜剧开头，悲剧发展，终以喜剧收场，是一则以细腻笔触和生动对白见长、讲述没有富裕嫁妆的少女婚恋的经典故事。

作者简介

Jane Austen was born on December 16, 1775 at Steventon near Basingstoke, the seventh child of the rector of the parish. She lived with her family at Steventon until they moved to Bath when her father retired in 1801. After his death in 1805, she moved around with her mother; in 1809, they settled in Chawton, near Alton, Hampshire. Here she remained, except for a few visits to London, until in May 1817 she moved to Winchester to be near her doctor. There she died on July 18, 1817.
As a girl Jane Austen wrote stories, including burlesques of popular romances. Her works were only published after much revision, four novels being published in her lifetime. These are Sense and Sensibility (1811), Pride and Prejudice (1813), Mansfield Park (1814) and Emma (1816). Two other novels, Northanger Abbey and Persuasion, were published posthumously in 1818 with a biographical notice by her brother, Henry Austen, the first formal announcement of her authorship. Persuasion was written in a race against failing health in 1815-16. She also left two earlier compositions, a short epistolary novel, Lady Susan, and an unfinished novel, The Watsons. At the time of her death, she was working on a new novel, Sanditon, a fragmentary draft of which survives.

　　简·奥斯汀，是英国著名女性小说家，她的作品主要关注乡绅家庭女性的婚姻和生活，以女性特有的细致入微的观察力和活泼风趣的文字真实地描绘了她周围世界的小天地。

精彩书评

As nearly flawless as any fiction could be.
--Eudora Welty

"In its marvelously perceptive portrayal of two young women in love, "Sense and Sensibility" is Austen's insightful representation of early 19th-century middle-class provincial life. This edition features a new Afterword."
-- Revised reissue.

目录

INTRODUCTION
CHRONOLOGY OF JANE AUSTEN'S LIFE AND WORK
HISTORICAL CONTEXT OF Sense and Sensibility
SENSE AND SENSIBILITY
NOTES
INTERPRETIVE NOTES
CRITICAL EXCERPTS
QUESTIONS FOR DISCUSSION
SUGGESTIONS FOR THE INTERESTED READER

精彩书摘

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

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

Elinor makes as ambivalent a heroine as Mansfield Park's notoriously hard-to-warm-up-to Fanny Price. She's affectionately protective of her sister Marianne yet overfond of zinging her: "It is not every one who has your passion for dead leaves." She's bemused at Marianne's self-dramatizing, yet she's as smug about suffering in silence as Marianne (who "would have thought herself very inexcusable" if she were able to sleep after Willoughby leaves Devonshire) is proud of suffering in Surround Sound. She can be treacherously clever, as when Lucy Steele speculates (correctly) that she may have offended Elinor by staking her claim to Edward: " 'Offended me! How could you suppose so? Believe me,' and Elinor spoke it with the truest sincerity, 'nothing could be farther from my intention, than to give you such an idea.' " Yet she can also be ponderously preachy: "One observation may, I think, be fairly drawn from the whole of the story-that all Willoughby's difficulties, have arisen from the first offense against virtue, in his behaviour to Eliza Williams. That crime has been the origin of every lesser one, and of all his present discontents." (In the rest of Austen, only the intentionally preposterous Mary in Pride and Prejudice strikes just this note: "Unhappy as the event may be for Lydia, we may draw from it this useful lesson; that loss of virtue in a female is irretrievable . . ."). Is Elinor simply an intel Sense and Sensibility[理智与情感] [平装] 下载 mobi epub pdf txt 电子书 格式

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sense and sensibility还是在读书的时候看过，当时看了许多奥斯丁的作品，女作家对感情的把握细致细腻。在书店看上了这本书一直想买可惜太贵又不打折，回家决定上京东看看，果然有折扣。毫不犹豫的买下了，京东速度果然非常快的，从配货到送货也很具体，快递非常好，很快收到书了。书的包装非常好，没有拆开过，非常新，可以说无论自己阅读家人阅读，收藏还是送人都特别有面子的说，特别精美各种十分美好虽然看着书本看着相对简单，但也不遑多让，塑封都很完整封面和封底的设计、绘图都十分好画让我觉得十分细腻具有收藏价值。书的封套非常精致推荐大家购买。打开书本，书装帧精美，纸张很干净，文字排版看起来非常舒服非常的惊喜，让人看得欲罢不能，每每捧起这本书的时候似乎能够感觉到作者毫无保留的把作品呈现在我面前。作业深入浅出的写作手法能让本人犹如身临其境一般，好似一杯美式咖啡，看似快餐，其实值得回味无论男女老少，第一印象最重要。从你留给别人的第一印象中，就可以让别人看出你是什么样的人。所以多读书可以让人感觉你知书答礼，颇有风度。多读书，可以让你多增加一些课外知识。培根先生说过知识就是力量。不错，多读书，增长了课外知识，可以让你感到浑身充满了一股力量。这种力量可以激励着你不断地前进，不断地成长。从书中，你往往可以发现自己身上的不足之处，使你不断地改正错误，摆正自己前进的方向。所以，书也是我们的良师益友。多读书，可以让你变聪明，变得有智慧去战胜对手。书让你变得更聪明，你就可以勇敢地面对困难。让你用自己的方法来解决这个问题。这样，你又向你自己的人生道路上迈出了一步。多读书，也能使你的心情便得快乐。读书也是一种休闲，一种娱乐的方式。读书可以调节身体的血管流动，使你身心健康。所以在书的海洋里遨游也是一种无限快乐的事情。用读书来为自己放松心情也是一种十分明智的。读书能陶冶人的情操，给人知识和智慧。所以，我们应该多读书，为我们以后的人生道路打下好的、扎实的基础！读书养性，读书可以陶冶自己的性情，使自己温文尔雅，具有书卷气读书破万卷，下笔如有神，多读书可以提高写作能力，写文章就才思敏捷旧书不厌百回读，熟读深思子自知，读书可以提高理解能力，只要熟读深思，你就可以知道其中的道理了读书可以使自己的知识得到积累，君子学以聚之。总之，爱好读书是好事。让我们都来读书吧。其实读书有很多好处,就等有心人去慢慢发现.最大的好处是可以让你有属于自己的本领靠自己生存。最后在好评一下京东客服服务态度好，送货相当快,包装仔细！这个也值得赞美下希望京东这样保持下去，越做越好。

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一直很喜欢Jane Austen的书包括傲慢与偏见、理智与情感，很有内涵有深度，虽然语句有些偏难，但是故事情节很吸引人，书比电影更加吸引人而且细节多了，推荐！

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