Along with the plays of William Shakespeare and the works of Charles Dickens, Jane Austen’s novels are among the most beloved books of Western literature. Pride and Prejudice (1813) was in Austen’s lifetime her most popular novel, and it was the author’s personal favorite. Adapted many times to the screen and stage, and the inspiration for numerous imitations, it remains today her most widely read book. Now, in this beautifully illustrated and annotated edition, distinguished scholar Patricia Meyer Spacks instructs the reader in a larger appreciation of the novel’s enduring pleasures and provides analysis of Darcy, Elizabeth Bennet, Lady Catherine, and all the characters who inhabit the world of Pride and Prejudice.
This edition will be treasured by specialists and first-time readers, and especially by devoted Austen fans who think of themselves as Friends of Jane. In her Introduction, Spacks considers Austen’s life and career, the continuing appeal of Pride and Prejudice, and its power as a stimulus for fantasy (Maureen Dowd, writing in The New York Times, can hold forth at length on Obama as a Darcy-figure, knowing full well her readers will “understand that she wished to suggest glamour and sexiness”). Her Introduction also explores the value and art of literary annotation. In her running commentary on the novel, she provides notes on literary and historical contexts, allusions, and language likely to cause difficulty to modern readers. She offers interpretation and analysis, always with the wisdom, humor, and light touch of an experienced and sensitive teacher.
Jane Austen
Jane Austen (16 December 1775 – 18 July 1817) was an English novelist whose works of romantic fiction, set among the landed gentry, earned her a place as one of the most widely read writers in English literature, her realism and biting social commentary cementing her historical importance among scholars and critics.
Austen lived her entire life as part of a close-knit family located on the lower fringes of the English landed gentry. She was educated primarily by her father and older brothers as well as through her own reading. The steadfast support of her family was critical to her development as a professional writer. Her artistic apprenticeship lasted from her teenage years until she was about 35 years old. During this period, she experimented with various literary forms, including the epistolary novel which she tried then abandoned, and wrote and extensively revised three major novels and began a fourth. From 1811 until 1816, with the release of Sense and Sensibility (1811), Pride and Prejudice (1813), Mansfield Park (1814) and Emma (1816), she achieved success as a published writer. She wrote two additional novels, Northanger Abbey and Persuasion, both published posthumously in 1818, and began a third, which was eventually titled Sanditon, but died before completing it.
Austen's works critique the novels of sensibility of the second half of the 18th century and are part of the transition to 19th-century realism. Her plots, though fundamentally comic, highlight the dependence of women on marriage to secure social standing and economic security. Her work brought her little personal fame and only a few positive reviews during her lifetime, but the publication in 1869 of her nephew's A Memoir of Jane Austen introduced her to a wider public, and by the 1940s she had become widely accepted in academia as a great English writer. The second half of the 20th century saw a proliferation of Austen scholarship and the emergence of a Janeite fan culture.
Patricia Meyer Spacks is Edgar F. Shannon Professor of English, Emerita, at the University of Virginia.
In 1801, George Austen retired from the clergy, and Jane, Cassandra, and their parents took up residence in Bath, a fashionable town Jane liked far less than her native village. Jane seems to have written little during this period. When Mr. Austen died in 1805, the three women, Mrs. Austen and her daughters, moved first to Southampton and then, partly subsidized by Jane's brothers, occupied a house in Chawton, a village not unlike Jane's first home. There she began to work on writing and pursued publishing once more, leading to the anonymous publication of Sense and Sensibility in 1811 and Pride and Prejudice in 1813, to modestly good reviews.
Known for her cheerful, modest, and witty character, Jane Austen had a busy family and social life, but as far as we know very little direct romantic experience. There were early flirtations, a quickly retracted agreement to marry the wealthy brother of a friend, and a rumored short-lived attachment -- while she was traveling -- that has not been verified. Her last years were quiet and devoted to family, friends, and writing her final novels. In 1817 she had to interrupt work on her last and unfinished novel, Sanditon, because she fell ill. She died on July 18, 1817, in Winchester, where she had been taken for medical treatment. After her death, her novels Northanger Abbey and Persuasion were published, together with a biographical notice, due to the efforts of her brother Henry. Austen is buried in Winchester Cathedral.
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我最喜歡的是書中角色的成長和蛻變。很多角色並非一開始就完美無瑕,他們有自己的缺點,有自己的迷茫,但他們都在經曆瞭一係列事件後,學會瞭反思,學會瞭成長。看著他們從懵懂無知到逐漸成熟,從固執己見到懂得變通,這種過程本身就充滿瞭力量。這種真實感,讓讀者能夠從他們身上找到共鳴,並從中汲取力量,相信自己也能夠剋服睏難,成為更好的自己。
评分書中對於情感的描寫,既含蓄又充滿張力。作者沒有直接描繪轟轟烈烈的愛情,而是通過 subtle 的眼神,曖昧的對話,以及人物之間微妙的互動,將情感的萌芽和發展描繪得淋灕盡緻。你能夠感受到那種含蓄的愛戀,那種欲說還休的糾結,以及那種在誤會和猜忌中逐漸加深的羈絆。這種細膩而真實的情感描繪,纔是真正打動人心的。
评分第一眼看到這本厚實的精裝書,就有一種沉甸甸的曆史感撲麵而來,仿佛穿越瞭時空的阻隔,直接捧在瞭19世紀英國貴族小姐的手中。它的封麵設計並非那種張揚奪目的風格,而是帶著一種內斂而精緻的美感,深沉的色彩搭配著恰到好處的燙金字體,傳遞齣一種低調的奢華。翻開扉頁,那紙張的質感也是極好的,帶著一絲淡淡的油墨香,讓人不自覺地放慢瞭翻閱的節奏,細細品味文字之外的觸感。我喜歡在這樣一本實體書中投入時間,而不是在電子屏幕上匆匆滑過,那種沉浸感是電子書難以替代的。
评分這本書的篇幅雖然不算短,但每一個字、每一個詞的運用都顯得如此精煉,仿佛經過瞭韆萬次的打磨。作者的語言風格有一種古典的美,用詞考究,句式優美,讀起來有一種音樂般的韻律感。尤其是一些對話的描寫,字裏行間充滿瞭智慧和風趣,人物的性格躍然紙上。我常常會因為某一句精彩的描寫而停下來,反復品味,甚至在腦海中勾勒齣當時的場景,感受人物的情感起伏。這種文字的魅力,是現代快節奏的生活中很難再見到的。
评分我尤其欣賞作者對人物內心世界的細膩刻畫。她並沒有像某些作傢那樣,直接告訴讀者人物在想什麼,而是通過人物的言談舉止,通過他們與他人的互動,不動聲色地將人物的性格、思想、情感一層層剝開,展現在讀者麵前。你會在某個不經意的瞬間,突然理解瞭這個人物的無奈,或者是感受到瞭他內心的掙紮。這種“留白”式的描寫,反而更加引人入勝,讓讀者能夠主動地參與到對人物的理解中來,而不是被動地接受。
评分我非常喜歡書中對傢庭關係的描寫。無論是其樂融融的姐妹情深,還是父母之間微妙的相處模式,亦或是大傢庭中不同成員之間的互動,都刻畫得生動而真實。這些傢庭關係,不僅僅是故事的背景,更是影響人物性格和命運的重要因素。通過對這些關係的描寫,我們可以更深入地理解人物的行為動機,以及他們所處的社會環境。
评分總而言之,這是一本值得反復閱讀的經典之作。每一次重讀,都能有新的發現和感悟。它不僅僅是一個故事,更是一種人生智慧的傳遞,一種對美好情感的歌頌。它讓我相信,即使在最復雜的社會環境中,真誠和善良最終也能戰勝一切。這本書的魅力,在於它能夠穿越時空,觸動每一個讀者的內心深處,並留下長久而深刻的印記。
评分這本書帶給我的最大感受是,有時候,最美好的東西,恰恰隱藏在最樸實無華的日常之中。作者並沒有刻意製造戲劇性的衝突,而是通過對生活中點滴細節的捕捉,展現瞭人物的善良、智慧和堅韌。這種對生活的熱愛和對美好的追求,是貫穿始終的主題,也深深地感染瞭我。
评分這本書不僅僅是關於愛情故事,它更像是一麵鏡子,照齣瞭那個時代社會風貌,以及其中隱藏的人性百態。作者對於社會階層、婚姻製度、女性地位等議題的探討,都非常深刻,並且在故事中自然而然地融入,沒有絲毫說教的意味。你可以看到在看似平靜的錶麵下,湧動著多少現實的考量和情感的糾葛。這種社會洞察力,讓這本書超越瞭一個簡單的浪漫故事,成為瞭一部具有史料價值的文學作品。
评分這本書的敘事節奏把握得非常到位。雖然故事發生在相對悠閑的年代,但情節推進卻絲毫不顯得拖遝。作者善於設置懸念,利用巧妙的轉摺,讓故事充滿瞭吸引力。你很難預料下一刻會發生什麼,這種“意料之外,情理之中”的驚喜,讓閱讀過程充滿瞭樂趣。我常常會因為迫不及待想知道故事的走嚮而熬夜閱讀,完全沉浸在瞭作者構建的世界之中。
评分纔知奧氏文筆,一字一句,皆有機關。此書分析之精,考辨之細,注釋之詳,令人嘆未曾有,但恨相見之晚。
评分纔知奧氏文筆,一字一句,皆有機關。此書分析之精,考辨之細,注釋之詳,令人嘆未曾有,但恨相見之晚。
评分纔知奧氏文筆,一字一句,皆有機關。此書分析之精,考辨之細,注釋之詳,令人嘆未曾有,但恨相見之晚。
评分纔知奧氏文筆,一字一句,皆有機關。此書分析之精,考辨之細,注釋之詳,令人嘆未曾有,但恨相見之晚。
评分纔知奧氏文筆,一字一句,皆有機關。此書分析之精,考辨之細,注釋之詳,令人嘆未曾有,但恨相見之晚。
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