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Sense and Sensibility Hardcover – Oct. 27 2009
Purchase options and add-ons
- ISBN-100141040378
- ISBN-13978-0141040370
- EditionReprint
- PublisherPenguin Classics
- Publication dateOct. 27 2009
- LanguageEnglish
- Dimensions20.07 x 12.7 x 3.81 cm
- Print length448 pages
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Review
—Eudora Welty
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
In the novels to come, Elinor Dashwood will morph into Anne Elliott and Elizabeth Bennet (who will morph into Emma Woodhouse); Edward Ferrars into Edmund Bertram, Mr. Knightley, Henry Tilney, and Captain Wentworth; Willoughby into George Wickham and Henry Crawford. But the characters in Sense and Sensibility stand convincingly on their own, every bit as memorable as their later avatars. If Austen doesn't have quite the Caliban-to-Ariel range of a Shakespeare, she can still conjure up and sympathize with both Mrs. Jennings-the "rather vulgar" busybody with a borderline-unwholesome interest in young people's love lives, fits of refreshing horse sense, and a ruggedly good heart-and Marianne Dashwood, a wittily observed case study in Romanticism, a compassionately observed case study in sublimated adolescent sexuality, and a humorously observed case study in humorlessness. "I should hardly call her a lively girl," Elinor observes to Edward, "-she is very earnest, very eager in all she does-sometimes talks a great deal and always with animation-but she is not often really merry." Humorlessness, in fact, may be the one thing Marianne and her eventual lifemate, Colonel Brandon, have in common. (Sorry to give that plot point away; it won't be the last one, either. So, fair warning.) The minor characters have the sort of eidetic specificity you associate with Dickens: from the gruesomely mismatched Mr. and Mrs. Palmer to Robert Ferrars, splendidly impenetrable in his microcephalic self-complacency. The major characters, on the other hand, refuse to stay narrowly "in character"; they're always recognizably themselves, yet they seem as many-sided and changeable as people out in the nonfictional world.
Elinor makes as ambivalent a heroine as Mansfield Park's notoriously hard-to-warm-up-to Fanny Price. She's affectionately protective of her sister Marianne yet overfond of zinging her: "It is not every one who has your passion for dead leaves." She's bemused at Marianne's self-dramatizing, yet she's as smug about suffering in silence as Marianne (who "would have thought herself very inexcusable" if she were able to sleep after Willoughby leaves Devonshire) is proud of suffering in Surround Sound. She can be treacherously clever, as when Lucy Steele speculates (correctly) that she may have offended Elinor by staking her claim to Edward: " 'Offended me! How could you suppose so? Believe me,' and Elinor spoke it with the truest sincerity, 'nothing could be farther from my intention, than to give you such an idea.' " Yet she can also be ponderously preachy: "One observation may, I think, be fairly drawn from the whole of the story-that all Willoughby's difficulties, have arisen from the first offense against virtue, in his behaviour to Eliza Williams. That crime has been the origin of every lesser one, and of all his present discontents." (In the rest of Austen, only the intentionally preposterous Mary in Pride and Prejudice strikes just this note: "Unhappy as the event may be for Lydia, we may draw from it this useful lesson; that loss of virtue in a female is irretrievable . . ."). Is Elinor simply an intelligent young woman overtaxed by having to be the grown-up of the family? Or is she an unconsciously rivalrous sibling, sick of hearing that her younger, more beautiful sister will marry more advantageously? Or both? Or what? It's not that Austen doesn't have a clear conception of her-it's that she doesn't have a simple conception. Elinor is the character you know the most about, since Austen tells most of the story from her point of view, and consequently she's the one you're least able to nail with a couple of adjectives or a single defining moment.
Edward bothers us, too. He's a dreamboat only for a woman of Elinor's limited expectations: independent-minded yet passive and depressive, forthright and honorable yet engaged in a book-long cover-up. (It's a tour de force on Austen's part to present a character so burdened with a secret that we see his natural behavior only long after we've gotten used to him.) At his strongest and most appealing-to Elinor, at least-he's a clear-your-mind-of-cant kind of guy: "I am not fond of nettles, or thistles, or heath blossoms. . . . A troop of tidy, happy villagers please me better than the finest banditti in the world." But he can also be a Hamlet-like whiner, complaining about his own idleness and vowing that his sons will be brought up "to be as unlike myself as possible. In feeling, in action, in condition, in every thing." For my money, Edward is the least likable of Austen's heroes, while his opposite number, Willoughby, is the most sympathetic of her libertines: smarter than Pride and Prejudice's Wickham (a loser who gets stuck with the "noisy" and virtually portionless Lydia Bennet) and more warmhearted than Mansfield Park's textbook narcissist Henry Crawford. Willoughby may strike trendy Wordsworthian poses with his effusions on cottages ("I consider it as the only form of building in which happiness is attainable"), but at least he has enough sense to abhor his own callowness, and enough sexy boldness to discompose even the rational Elinor. "She felt that his influence over her mind was heightened by circumstances which ought not in reason to have weight; by that person of uncommon attraction, that open, affectionate, and lively manner which it was no merit to possess . . ." His opening line when he at last explains to her what he's been up to ("Tell me honestly, do you think me most a knave or a fool?") is one of those Byronic flourishes that make him the person in Sense and Sensibility you'd most want to dine with and least want to trust.
Product details
- Publisher : Penguin Classics; Reprint edition (Oct. 27 2009)
- Language : English
- Hardcover : 448 pages
- ISBN-10 : 0141040378
- ISBN-13 : 978-0141040370
- Item weight : 700 g
- Dimensions : 20.07 x 12.7 x 3.81 cm
- Best Sellers Rank: #176,552 in Books (See Top 100 in Books)
- #3,367 in Regency Historical Romance
- #4,864 in Classic Literature (Books)
- #13,532 in Literary Fiction (Books)
- Customer Reviews:
About the authors

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.

Gemma Barder is an author of a variety of children's books and specialises in activity books and middle grade chapter books. She has written about everything from dinosaurs to Jane Austen - and all that comes in between! She lives in the midlands with her family and a mischievous cocker spaniel.

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Of course, the writing style was superb. Austen has a great gift for saying much while saying little, and is full of grace and dignity and beauty. Her trick of portraying character and setting in a few little strokes is pure genius, and her deep weave of plot and arc are absolutely amazing. It’s so hard to rate the Austen books, at first, but when I think about it I can set a pretty clear ranking based on how deeply I love the books. To me, Northanger Abbey is really only a hilarious satirical romp with a few good lessons, but Pride & Prejudice is a sparkling masterpiece of wit and style and character—an amazing story, an excellent piece of literature, and a splendid lesson. Emma is a sweet, light-hearted, yet thought-provoking journey, while Mansfield Park is a very deep, almost wistful & nostalgic bittersweet reflection. Persuasion is a delightful, satisfying romance. Sense & Sensibility strikes me a sort of mashup of Emma + Pride & Prejudice in style… more mature and serious than P&P, but with a more somber lesson than Emma.
The characters were amazing. I find it so interesting how much I relate both to Marianne and to Elinor. I am not as silly as Marianne, nor as rude and controlled by my passions (I hope), but I am not as steady and polite as Elinor (I wish). What a model she is, to be sure! She is such a wonderful woman—courageous, strong, beautiful, responsible, loving, and desirous of well-doing in all. Marianne was very sweet, and she meant well—but I think the older I get the more I understand how foolish her 17-year-old opinions are.
And then there's You-Know-Who. I love him, and then hate him, and then am fascinated into loving him again, and then despise him… I simply can’t figure him out and just puzzle over him and try to understand him for a long time after finishing the book. He made me think of Henry Crawford. Both were SO close to redemption but were too weak and threw it aside... and lost forever. (On that topic, though, he did make an important point: “I do not mean to justify myself, but at the same time cannot leave you to suppose that I have nothing to urge—that because she was injured she was irreproachable, and because I was a libertine, she must be a saint.” That is not something people consider enough—and not just about him.)
I loved Colonel Brandon from start to finish. He was amazing. I disliked Edward at first, but he won my regard and kept it to the end. What a respectable, honourable man he was! Lucy was horrid, Robert was awful, Fanny and John and Mrs. Ferrars were terrible. Lady Middleton was... just… very irritating most of the time, yet she could be well-mannered. Sir John you couldn't help liking even as you shook your head or rolled your eyes at him. And Mrs. Jennings I learned to love. She ended up really awfully nice. Mrs. Palmer was just *sigh* and Mr. Palmer was just *eyeroll,* but I did like Mrs. Dashwood, even if she could be foolish and easily swayed. She was at least very loving and honestly admitted to her mistakes.
As for the storyline, it was hooking. I read this entire book in pretty much two days/sessions because I simply COULD NOT put it down. The plot was so done. What a rollercoaster! And the ending is simply hilarious. It’s sobering story, really, but with some excellent lessons. I think what you come away with most is—how strong is your character? This is what will sink you or save you. Could YOU stand like Edward? Endure like Elinor? Persevere like Colonel Brandon? Are you judging people by appearances, or by their characters, or by their status, or by their influence? Do you passionately pursue your own loves and passionately grieve your own pain without noticing the hurt it can give others? Do you blindly pursue what is not for you, or happily choose to do what is not seemly because the one you love suggests it? This one whom you love—is he worthy of your love?
Content: A woman related to one of the MCs is married to a man she despises and runs away from home with another man. Being abandoned by him, she births his child and becomes a prostitute. Her daughter (16) is seduced by another young man, impregnated, and abandoned. Barely detailed + tastefully handled, but probably for ages 16/18+ depending on situation.
A Favourite Quote: “Four months!”—cried Marianne again.—“So calm! so cheerful! how have you been supported?”—
“By feeling that I was doing my duty.— ... I did not love only him;—and while the comfort of others was dear to me, I was glad to spare them from knowing how much I felt. Now, I can think and speak of it with little emotion. I would not have you suffer on my account.”
A Favourite Beautiful Quote: “They gaily ascended the downs, rejoicing in their own penetration at every glimpse of blue sky; and when they caught in their faces the animating gales of a high south-westerly wind, they pitied the fears which had prevented their mother and Elinor from sharing such delightful sensations. “Is there a felicity in the world,” said Marianne, “superior to this?—Margaret, we will walk here at least two hours.” Margaret agreed, and they pursued their way against the wind, resisting it with laughing delight for about twenty minutes longer.”
A Favourite Humorous Quote: “Her family had of late been exceedingly fluctuating. For many years of her life she had had two sons; but the crime and annihilation of Edward a few weeks ago, had robbed her of one; the similar annihilation of Robert had left her for a fortnight without any; and now, by the resuscitation of Edward, she had one again. In spite of his being allowed once more to live, however, he did not feel the continuance of his existence secure, till he had revealed his present engagement.”
Sense and Sensibility was Austen's first published work. It is not her most successful novel. By the time Emma was written, Austen was a more successful author. Emma is funnier than Sense and Sensibility; it also posesses a more realistic romance. However, there are positive traits of her style present in Sense and Sensibility.
Sensibility, easily slots into the genre of Romance. It concerns two sisters, unfortunately deprived of their family inheritance, and their search for love. One sister, Elinor, is sensible, while her younger sister, Marianne, is a passionate and silly romantic. Austen, in fact admires both her leading ladies contrasting traits, but it is easier to sympathise with Elinor. She puts up with a lot of torment in the novel but never allows herself to break down, unlike Marianne who almost lets a lost love end her life.
Happily, there is a trace of comedy running through the book. As usual, the principal humour comes from the characters (the delightfully droll Mr Palmer), but Austen herself has fun with her narrative and enjoys creating set-ups to confuse both the reader and the characters. There is always an element of mystery in her novels. Who will end up with who? And this heightens the enjoyment of the novel.
Sense and Sensibility has a lot to offer it. It is a primitive work from a great writer. It has hampered by the ridiculously happy ending. Marianne and the Colonel should never have matched. There is a gloss of reality (often lacking in the book), however when we find out that Willoughby (the bad guy) actually ends up living a happy life. It is a rarity in Jane Austen's novels that the villian (if you can call it a villian) of the piece finishes the novel in a merry vein.
I wish I could tell you it was fantastic or indeed awful but I share Elinor's traits, in that I'm not one for exaggerated emotion. It's good but not great.
Top reviews from other countries
L'interno è in perfetto stato.
Il libro è bellissimo, le pagine sono perfettamente leggibili e può essere uno strumento utile per praticamente la lettura in inglese e arricchire il proprio lessico.
Last but not least, la storia narrata è un capolavoro della letteratura inglese.
Consigliato.
Reviewed in Italy on January 3, 2024
L'interno è in perfetto stato.
Il libro è bellissimo, le pagine sono perfettamente leggibili e può essere uno strumento utile per praticamente la lettura in inglese e arricchire il proprio lessico.
Last but not least, la storia narrata è un capolavoro della letteratura inglese.
Consigliato.
Reviewed in Poland on March 21, 2023










