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Jane Austen

Rocket Classic Collection

Sense and Sensibility (Penguin Clothbound Classics) Hardcover – October 27, 2009

by Jane Austen (Author), Coralie Bickford-Smith (Illustrator), Claire Lamont (Preface),

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Part of Penguin's beautiful hardback Clothbound Classics series, designed by the award-winning Coralie Bickford-Smith, these delectable and collectible editions are bound in high-quality colourful, tactile cloth with foil stamped into the design. Marianne Dashwood wears her heart on her sleeve, and when she falls in love with the dashing but unsuitable John Willoughby she ignores her sister Elinor's warning that her impulsive behaviour leaves her open to gossip and innuendo. Meanwhile Elinor, always sensitive to social convention, is struggling to conceal her own romantic disappointment, even from those closest to her. Through their parallel experience of love - and its threatened loss - the sisters learn that sense must mix with sensibility if they are to find personal happiness in a society where status and money govern the rules of love.

Print length

409 pages
Language

English
Publisher

Penguin Classics
Publication date

October 27, 2009
Reading age

18 years and up
Dimensions

7.9 x 5 x 1.5 inches
ISBN-10

0141040378
ISBN-13

978-0141040370
Lexile measure

810
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Editorial Reviews

Review

"As nearly flawless as any fiction could be."
—Eudora Welty

About the Author

Jane Austen (1775-1817) was extremely modest about her own genius but has become one of English literature's most famous women writers. She is also the author of Pride and Prejudice, Mansfield Park, Emma, Persuasion, and Northanger Abbey. Ros Ballaster is a Fellow and Tutor in English at Mansfield College, Oxford. Tony Tanner was a Fellow of King's College, Cambridge, and Professor of English and American Literature at the University of Cambridge.

Excerpt. © Reprinted by permission. All rights reserved.

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 Brontë 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 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 (October 27, 2009)
Language ‏ : ‎ English
Hardcover ‏ : ‎ 409 pages
ISBN-10 ‏ : ‎ 0141040378
ISBN-13 ‏ : ‎ 978-0141040370
Reading age ‏ : ‎ 18 years and up
Lexile measure ‏ : ‎ 810
Item Weight ‏ : ‎ 1.25 pounds
Dimensions ‏ : ‎ 7.9 x 5 x 1.5 inches

Best Sellers Rank: #96,238 in Books (See Top 100 in Books)
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Jane Austen
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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.
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Rocket Classic Collection
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Hello Jane Austen Lovers,
The Rocket Classic Collection of Jane Austen allows you to collect the entire set of Austen's works and have them sit in beautiful harmony on your shelf. If you have any questions feel free to contact us at rocketclassiccollection@gmail.com
To see our unique collection please visit this page: https://www.amazon.com/s?i=stripbooks&rh=p_27%3ARocket+Classic+Collection&s=relevancerank&text=Rocket+Classic+Collection
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Anon

Great story, as always. Needs editing.

Reviewed in the United States on August 16, 2022

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Although I was still able to follow and enjoy a great story, there were many cases where parts of a sentence were repeated and wrong words were used. For example, at one point, the words “show how” could only be understood if changed to “she now”. I don’t know who transcribes these, but they definitely need proofreading or editing.

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Bibliophile without Borders

beautiful version of an old classic with original watercolours

Reviewed in the United States on December 15, 2013

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If you have only seen the movies, please get this beautiful edition to acquaint yourself, or if you have read it, reacquaint yourself with this wonderful story. I had not read Sense and Sensibility for many years and recently decided to curl up one afternoon with this edition. I was amazed at how much I had forgotten: this was not just the story of the two Dashwood sisters who were so different, but also of the families that touched their lives and a very biting social commentary on social climbers who choose money over worth. The Dashwood sisters come from money, but their dying father unwisely made no provisions for them and left all in the hands of their weak brother and his mercenary wife. Their brother means well but is in thrall to his wife Fanny who controls him and the purse strings, and the Dashwood women are given only a pittance to live on, and no addition to their dowries.

Of course, both the Ang Lee and more recent BBC movies let us know without question that their sister-in-law Fanny Ferrars Dashwood comes from a family whose rise in the world far outpaced their attempt at refinement, and seeing in the Dashwood sisters the example of what a real "lady" should be, she passionately despises them their effortless gentility. It is through her machinations that her husband's half sisters, younger sister and mother-in-law are reduced to living in a cold and distant cottage ("out of sight, out of mind") on 500 L. a year (about $25,000 today), a far cry from the wealth and privilege in which they grew up and which gives them only a lower middle class status. When Fanny's brother Edward quietly admires Eleanor Dashwood, Mrs Dashwood unwisely hints at their mutual feelings and Fanny steps in to separate them.

The Ferrars family with the exception of Edward are alike in their love of money and position. Fearful of being mistaken for anything but the tonnish class they aspire to, they do anything to make sure that money and position are allied with the family and nothing less will do. With the Dashwood women banished far away, Fanny thinks that all is well. But fate takes a hand: not only in the form of the sporting Sir John Middleton and his loud but kindly mother-in-law Mrs Jennings but the chance invitation of the social-climbing cousins of Mrs Jennings, one of whom is aware of Edward's admiration of Eleanor Dashwood, and who puts a very large spoke in the wheel of Eleanor's possible happiness.

There are indeed people in this world who cannot bear to see anyone deserving to be happy, and thus it is for Fanny and Mrs Ferrars and the most enterprising Lucy Steele. Fanny, seeing Lucy as no threat and someone who is even lower down the pecking order of gentility, invites and befriends her over her own sisters-in-law with disastrous results. Seeing a social climber who is even more adept at manipulating people than herself, Fanny and her mother fall into unbecoming, and as Jane Austen subtly shows us, rather common hysterics.

It is Eleanor and the wonderfully noble and patient Colonel Brandon who are the real winners, people of true worth who are able to hide broken hearts yet still act with a nobility of spirit and who respectively get their hearts desires in the complementary Edward Ferrars and Marianne. These four people are vastly superior to almost everyone in this book, and are the most deserving of great happiness. For Edward and Eleanor, there are few regrets in the respective lack of fortune because they each see each other as their heart's desire (and things are eventually somewhat resolved financially for them to ease their situation). Marianne and the wonderful Colonel Brandon find true love with each other, mending each other's broken hearts, and as Jane Austen points out, Marianne never loves by halves and soon gives her heart completely to her Colonel, as he does to her.

It is worthwhile to note that Jane Austen did not shrink from discussing situations and social problems that were usually brushed under the carpet. The daughter of Colonel Brandon's first love is the victim of the unrepentant Willoughby who ruins her for sport and although he does care for Marianne, it is probably because Marianne has a family and especially a careful mother that makes him keep his distance. He is far too shallow to care much beyond his own pleasures and reading between the lines, we realise that Marianne's fate could have been much different if she had been less genteel.

This particular edition has some beautiful watercolour illustrations that can be enlarged on a Kindle Fire that are a lovely addition to the book.

Reviewed in the United States on August 1, 2022

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Plot, characters, settings and societies are easy to mentally inhabit. The story follows logically, at least as logically as the characters involved are able to advance.

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Alexander Kobulnicky

The Land of Cockaigne

Reviewed in the United States on April 18, 2022

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I read a lot of 18th and 19th century novels, but when I got a copy of Sense and Sensibility, my wife teased me. According to her, Jane Austen is strictly an author for teenage girls.

It’s not hard to see where she would get that idea. The heroines are literally teenagers, 17 and 19. Austen herself was 19 when she began writing S&S. And the plot is adolescent wish fulfillment: The virtuous, sagacious heroines, though sometimes carried away by passion, and sometimes suffering silently, win the men of their dreams.

(To the end, I was hopeful that Marianne would die, or perhaps become an old maid, but no. This is a *happy* ending.)

S&S begins hopefully, with some clever characters. Sir John and Lady Middleton, Mr. Dashwood and Mr Palmer are well done. These are some upper class idiots, in the best English literary tradition.

Over the course of 350 pages however, as the exigencies of the plot require, the characterizations somehow wear off. Everyone sorts themselves into Team Selfish and Team Generous, as it were.

The prose style is exhausting. Here is a characteristic passage. Edward Ferrars has just announced that he intends to marry against his mother’s wishes:

“Mrs. Jennings was very warm in her praise of Edward’s conduct, but only Elinor and Marianne understood its true merit. *They* only knew how little he had to tempt him to be disobedient, and how small was the consolation, beyond the consciousness of doing right, that could remain to him in the loss of friends and fortune. Elinor gloried in his integrity; and Marianne forgave all his offenses in compassion for his punishment. But though confidence between them was, by this public discovery, restored to its proper state, and it was not a subject on which either of them were fond of dwelling when alone. Elinor avoided it on principle, as tending to fix still more upon her thoughts, by the too warm, too positive assurances of Marianne, that belief of Edward’s continued affection for herself, which she rather wished to do away, and Marianne’s courage soon failed her, in trying to converse on a topic which always left her more dissatisfied with herself than ever, by the comparison it necessarily produced between Elinor’s conduct and her own.”

The very long sentences are not necessarily a problem, but the tortured syntax, huge numbers of pronouns and lack of keywords makes this some heavy prose to trudge through.

(The phrase “affection for herself” tripped me up. Affection for whom exactly? I had to reread the paragraph a couple of times to see if I had missed anything. I think it’s just a misplaced modifier.)

And one last thing. Nearly every book from this period centers around the middle and upper classes. That’s fine, I’m not a Communist.

But in the case of S&S: What a bunch of leeches! I don’t believe a single person in this book has a job. (Mr Ferrars becomes an ordained minister, but he does not practice. Mr Palmer is a politician, but that is not a real job.)

Two hundred pounds per year is considered an impossibly small sum to live on, certainly not enough to live on. (Laborers in 1800 often lived on 10 or 20.)

They do nothing all day but play whist, attend dances, hunt, take walks, play the piano and sketch. There are no tradesmen, and servants are barely mentioned, although I know they all had tons. Lots of novelists write about high society, but Jane Austen writes about the land of Cockaigne. Money just happens to people.

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westladyTop Contributor: Coloring

LARGE PRINT

Reviewed in the United States on July 4, 2022

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When you are my age, you need big print. I am slowly transferring my itsy print books into large print ones. This was high on my list.

I love it. It is easy to read, and the translation is faithful. I also love the cover.

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Top reviews from other countries

Reader from a star

One of the rare and gorgeous edition out there!!

Reviewed in India on March 6, 2019

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I am thrilled to tell you that I've received a very beautiful and rare collectible edition. I was super excited and this time amazon satisfied me 99% (one % not because the packaging was not good and also the bookmark was not there).
So this is michael o mara classic collection. A hardcover book with white good quality pages, clothbound cover and a black ribbon book mark(maybe that's why they didn't provided book mark).
I'm in love with this edition and waited very long to buy this one.
There's chinese style painting of tree on the cover as well as inside.

46 people found this helpful

M. Dowden

A Personal Favourite

Reviewed in the United Kingdom on November 25, 2017

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Like a vast number of people, I am a Jane Austen fan, and of all her books I have always had a special predilection for this particular tale, although as we all know Pride and Prejudice is her most popular novel. This was first published anonymously, and sales were pretty good for the period, which of course we cannot compare with the likes of today.

Here we follow mainly two daughters of the Dashwood family, Elinor and Marianne, and the trials and tribulations they go through in getting married. We know that Austen changed the structure as well as the title of this as she progressed from her first draught and this was possibly to create something a bit more balanced and thoughtful between the two words in the title, sense, and sensibility. What will the sisters use in their search for a romantic marriage and future?

There is of course sly wit and irony here as Miss Austen shows off her skills that have made her so loved by millions throughout the world. For the likes of many of us in the Western World so the necessity of finding a partner that will bring wealth and property, as well as other things that can further one in the world, have no longer any relevance, but in other parts of the world these are still facts of life, where marriage is not that much about love, but of security.

So, we see troublesome times ahead as both Elinor and Marianne find themselves caught up with men who want other things than just love can bring them. This still makes for an enjoyable and interesting read, showing us the world of the period this was written, and giving us a lot to think upon, or if you read this in a book group, to discuss. This book also shows the development of the novel into what is now the modern romance genre.

12 people found this helpful

marion

Sense and Sensibility

Reviewed in the United Kingdom on January 5, 2022

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The story of the three Dashwood sisters and their mother who are obliged to leave their old home Norland Park on the death of their father to move to a cottage, Barton Cottage on the estate of John Middleton. Marianne [16 and a half]falls in love with dashing Mr Willoughby who appears to be in love with her but who abandons her for the fortune of a Miss Sophia Grey. Being very romantic Marianne suffers horribly when left, so much so that she almost dies of grief.

Colonel Brandon, considered far too old by Marianne,- he's thirty five, saves the day.

Marion in Hailey Oxfordshie

One person found this helpful

Amelia

Great Story, Terrible Cover Quality

Reviewed in the United Kingdom on February 4, 2021

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I haven’t yet read this book, but the story is no doubt going to be wonderful. My issue is the quality of the book and it’s cover...

I spent a great deal of time searching through the different collections of Jane Austen, as I want to get a number of her stories in matching covers/styles, so when I saw this one, I thought the covers looked lovely. Sense and Sensibility was the first one I have ordered, and I’m very disappointed with the cover and finish. It looks like someone just printed out an image file of the cover, printed it out on a bit of flimsy card, then stuck it to the book. As you can see from the photos attached, the book is matte due to the lack of laminated card used, the edges look a little rough as if someone just sliced the cover from a guillotine found in a school classroom. You can’t even read the title or author on the spine of the book!

Considering this is supposed to be part of the English Library Penguin edition, I was expecting more than this. There also appears to be a grease smudge on the front cover as well, which wouldn’t have been noticeable if it was a laminate/glossy card used.

Very disappointed in the finish. Half considering returning it and putting my money towards a better copy which will actually look nice/readable on my shelf.

One person found this helpful

AngieH

My first Jane Austen read

Reviewed in the United Kingdom on September 9, 2020

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This is the first Jane Austen book that I have read. I must say that it took a while to get used to the language used but I got the gist of it. I don’t usually read historical type romance or period drama etc. I reading enjoyed it. The setting is described well and the story really draws you in. The characters are also well written and you get a feel for The main heroine Elinor, also her sister Marianne and their mother Mrs Dashwood. It seems strange reading a story written so long ago with so much drama. The way marriages are formed more for financial gain and status rather than love or romance. Some of the characters are so deceitful and jealous and will go to great lengths to get ahead. I will definitely read more from Jane Austen.

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Sense and Sensibility (Penguin Clothbound Classics) Hardcover – October 27, 2009

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