Sense and Sensibility

by AUSTEN, JANE

• ISBN13: 9780553213348
• ISBN10: 0553213342
• Edition: Revised
• Format: Paperback
• Copyright: 1982-12-01
• Publisher: Bantam Classics

Summary

Published in 1811, Sense and Sensibility has delighted generations of readers with its masterfully crafted portrait of two sisters, Elinor and Marianne Dashwood. Forced to leave their home after their father's death, Elinor and Marianne must rely on making good marriages as their means of support. But unscrupulous cads, meddlesome matriarchs, and various guileless and artful women impinge on their chances for love and happiness. The novelist Elizabeth Bowen wrote, "The technique of [Jane Austen's novels] is beyond praise....Her mastery of the art she chose, or that chose her, is complete." This Modern Library Paperback Classics edition contains a new Introduction by Pulitzer Prize finalist David Gates, in addition to new explanatory notes. From the Trade Paperback edition.

Author Biography

Jane Austen was born on December 16, 1775, in the village of Steventon, Hampshire. Where her father was the rector. She was the seventh child in a boisterous family of six boys and two girls. Reading and playacting were favorite family pastimes, and Austen began writing as a young girl. Her Juvenillia, written between 1787 and 1795, survive in three notebooks and include Lady Susan, a shot novel-in-letters. In 1796 she completed another epistolary novel called Elinor and Marianne, later revised to become Sense and Sensibility. In 1797 she finished the first version of Pride and Prejudice, called “First Impressions.” Northanger Abbey, the last of the early novels, was written in 1798 or 1799 as “Susan.”

Until 1801, when her father retired and the family moved to Bath, Austen enjoyed a comfortable life, mixing in the best society in the neighborhood, keeping a carriage and a pair of horses, and attending dances at the stately homes of the local gentry. Neither she nor her sister Cassandra married, but the reason for this remains conjectural, as Cassandra burned or censored Austen’s surviving letters after her death. The eight years following the move from Steventon were evidently unsettled and unhappy ones. The Watsons, her only writing from this period, was never completed. But from 1809, when settled again in her beloved Hampshire, until her final illness in 1817, she lived a productive life in a pleasant cottage in Chawton provided by her wealthy brother Edward.

In 1811, Sense and Sensibility was published anonymously: the title page stated only that it was “By a Lady.” Immediately successful, this first novel was followed by Pride and Prejudice in 1813 and Mansfeild Park in 1814. Emma, written between 1814 and 1815, was “respectfully dedicated” at royal command to George IV. In 1816, already in declining health, Austen wrote Persuasion and revised “Susan” into Northanger Abbey. Her last work, Sandition, was left unfinished at he death on July 18, 1817. Austen’s identity as an author was announced to the world posthumously by her favorite brother, Henry, who supervised the publication of Northanger Abbey and Persuasion in 1818.

Excerpts

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 Bronte 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 affec