Sense and Sensibility (Oxford World's Classics) by Jane Austen

By Jane Austen

Contributor note: With an advent by way of Margaret Anne Doody. Notes by way of Claire Lamont
Publish 12 months note: First released in 1811
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• certainly one of Austen's 5 significant novels in a revised and up to date edition.
• the traditional Chapman/Kinsley textual content in a newly set typeface supplies a extra beautiful appearance.
• the recent notes are fuller and supply extra beneficiant contextualization of social conduct and Austen's language.
• New chronology and bibliography supply up to date assets for additional reading.
• New appendices on social rank and dancing.
• keeps Margaret Doody's nonetheless severely applauded introduction.

New to this edition
• thoroughly rewritten and accelerated notes.
• New and extended chronology.
• New, up-to-date and multiplied bibliography.
• New appendices on social rank and dancing.

"Pray, pray be composed," cried Elinor, "and don't betray what you are feeling to each physique current. probably he has no longer saw you yet."

For Elinor Dashwood, good and delicate, and her romantic, impetuous more youthful sister Marianne, the chance of marrying the lads they love looks distant. In an international governed by way of cash and self-interest, the Dashwood sisters have neither fortune nor connections. involved for others and for social proprieties, Elinor is ill-equipped to compete with self-centred fortune-hunters like Lucy Steele, while Marianne's dependable trust within the fact of her personal emotions makes her extra dangerously liable to the designs of unscrupulous men.

Through her heroines' parallel reviews of affection, loss, and desire, Jane Austen deals a strong research of the ways that women's lives have been formed through the claustrophobic society during which they'd to outlive.

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Additional info for Sense and Sensibility (Oxford World's Classics)

Example text

With apparent disdain for romanticism, in ‘Hamlet and His Problems’ Eliot conceives of a technique that serves as the foundation for his poetics of impersonality – the objective correlative. As he explains, ‘the only way of expressing emotion in the form of art is by finding an objective correlative; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked’ (789).

When studying the poem or fiction, the archetypal critic, like the formalist, assumes that the art object represents a special space, one that is more or less selfcontained, and in some fashion outside the strictures of history or personage. But Frye differs from some formalists in his understanding of literature as permanent and universal, applicable to and connected with human life throughout time. ‘The true father or shaping spirit of the poem is the form of the poem itself,’ Frye explains in Anatomy of Criticism (1957), ‘and this form is a manifestation of the universal spirit of poetry, the “onlie begetter” of Shakespeare’s sonnets who was not Shakespeare himself’ (98).

Eliot’s tradition is exclusive and hierarchical and does not account for the many other cultural forces that might make a popular novel or rock lyric or situation comedy as important in the creation of a given text as Dante’s Inferno. Aren’t all of the forces the artist experiences important in the culminating art object? Eliot responds with a resounding ‘no’ and asserts that if we approach a poet with his idea of tradition in mind, ‘we shall often find that not only the best, but the most individual parts of his work may be those in which the dead poets, his ancestors, assert their immortality most vigorously’ (784).

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