Book Description

This new critical edition of Jane Austen's comic masterpiece is based on the 1816 text, which has been carefully edited in light of later editions, including the Chapman edition. "Backgrounds" supplies an abundance of documents that shed light on Austen's life and reveal some of her private attitudes toward her writing. Readers should enjoy comparing real events in her life with her fictionalized accounts in the novel. "Reviews and Criticism" presents a wide variety of perspectives, both contemporary and recent, including essays by Sir Walter Scott, Henry James, A.C. Bradley, E.M. Forster, Robert Alan Donovan, Marilyn Butler, Mary Poovey, Claudia Johnson, Juliet McMaster, Ian Warr and Suzanne Juhasz. New to this edition are essays by Maggie Lane, Edward Copeland and Linda Troost and Sayre Greenfield, the last of which discusses the film adaptations of "Emma". A chronology and selected bibliography are included.

Amazon.com

Of all Jane Austen's heroines, Emma Woodhouse is the most flawed, the most infuriating, and, in the end, the most endearing. Pride and Prejudice's Lizzie Bennet has more wit and sparkle; Catherine Morland in Northanger Abbey more imagination; and Sense and Sensibility's Elinor Dashwood certainly more sense--but Emma is lovable precisely because she is so imperfect. Austen only completed six novels in her lifetime, of which five feature young women whose chances for making a good marriage depend greatly on financial issues, and whose prospects if they fail are rather grim. Emma is the exception: "Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her." One may be tempted to wonder what Austen could possibly find to say about so fortunate a character. The answer is, quite a lot.

For Emma, raised to think well of herself, has such a high opinion of her own worth that it blinds her to the opinions of others. The story revolves around a comedy of errors: Emma befriends Harriet Smith, a young woman of unknown parentage, and attempts to remake her in her own image. Ignoring the gaping difference in their respective fortunes and stations in life, Emma convinces herself and her friend that Harriet should look as high as Emma herself might for a husband--and she zeroes in on an ambitious vicar as the perfect match. At the same time, she reads too much into a flirtation with Frank Churchill, the newly arrived son of family friends, and thoughtlessly starts a rumor about poor but beautiful Jane Fairfax, the beloved niece of two genteelly impoverished elderly ladies in the village. As Emma's fantastically misguided schemes threaten to surge out of control, the voice of reason is provided by Mr. Knightly, the Woodhouse's longtime friend and neighbor. Though Austen herself described Emma as "a heroine whom no one but myself will much like," she endowed her creation with enough charm to see her through her most egregious behavior, and the saving grace of being able to learn from her mistakes. By the end of the novel Harriet, Frank, and Jane are all properly accounted for, Emma is wiser (though certainly not sadder), and the reader has had the satisfaction of enjoying Jane Austen at the height of her powers.

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　--Alix Wilber

Amazon.co.uk Review

"I should like to see Emma in love, and in some doubt of return; it would do her good," remarks one of Jane Austen's characters in Emma.

Quick-witted, beautiful, headstrong and rich, Emma Woodhouse is inordinately fond of match-making select inhabitants of the village of Highbury, yet aloof and oblivious as to the question of whom she herself might marry. This paradox multiplies the intrigues and sparkling ironies of Jane Austen's masterpiece, her comedy of a sentimental education through which Emma discovers a capacity for love and marriage.

From Library Journal

This is another case where a classic is being reprinted simply as a tie-in to a TV/feature film presentation. Libraries, nonetheless, can benefit by picking up a quality hardcover for a nice price.

Book Dimension:

length: (cm)20.9 　　　 　　　　　 　 width:(cm)13.3

簡·奧斯丁，1775年12月16日生於斯蒂文頓鄉一教區牧師傢庭。受到較好的傢庭教育，主要教材就是父親的文學藏書。奧斯丁一傢愛讀流行小說，多半是庸俗的消遣品。她少女時期的習作就是對這類流行小說的滑稽模仿，這樣就形成瞭她作品中嘲諷的基調。她的六部小說《理智與感傷》(1811)《傲慢與偏見》(1813)《曼斯斐爾德花園》(1814)《愛瑪》(1815)以及作者逝世以後齣版的《諾桑覺修道院》(1818)和《勸導》(1818)，大半以鄉鎮上的中産階級日常生活為題材，通過愛情婚姻等方麵的矛盾衝突反映瞭18世紀末、19世紀初英國社會的風貌。作品中往往通過喜劇性的場麵嘲諷人們的愚蠢、自私、勢利和盲目自信等可鄙可笑的弱點。奧斯丁的小說齣現在19世紀初葉，一掃風行一時的假浪漫主義潮流，繼承和發展瞭英國18世紀優秀的現實主義傳統，為19世紀現實主義小說的高潮做瞭準備，起到瞭承上啓下的重要作用。