SENSE & SENSIBILITY (The Illustrated Edition))
INTRODUCTION
With the title of Sense and Sensibility is connected one of those minor problems which delight the cummin-splitters of criticism. In the Cecilia of Madame D'Arblay the forerunner, if not the model, of Miss Austen is a sentence which at first sight suggests some relationship to the name of the book which, in the present series, inaugurated Miss Austen's novels. 'The whole of this unfortunate business' says a certain didactic Dr. Lyster, talking in capitals, towards the end of volume three of Cecilia 'has been the result of Pride and Prejudice,' and looking to the admitted familiarity of Miss Austen with Madame D'Arblay's work, it has been concluded that Miss Austen borrowed from Cecilia, the title of her second novel. But here comes in the little problem to which we have referred. Pride and Prejudice it is true, was written and finished before Sense and Sensibility its original title for several years being First Impressions. Then, in 1797, the author fell to work upon an older essay in letters à la Richardson, called Elinor and Marianne, which she re-christened Sense and Sensibility. This, as we know, was her first published book; and whatever may be the connection between the title of Pride and Prejudice and the passage in Cecilia, there is an obvious connection between the title of Pride and Prejudice and the title of Sense and Sensibility. If Miss Austen re-christened Elinor and Marianne before she changed the title of First Impressions, as she well may have, it is extremely unlikely that the name of Pride and Prejudice has anything to do with Cecilia (which, besides, had been published at least twenty years before). Upon the whole, therefore, it is most likely that the passage in Madame D'Arblay is a mere coincidence; and that in Sense and Sensibility, as well as in the novel that succeeded it in publication, Miss Austen, after the fashion of the old morality plays, simply substituted the leading characteristics of her principal personages for their names. Indeed, in Sense and Sensibility the sense of Elinor, and the sensibility (or rather sensiblerie) of Marianne, are markedly emphasised in the opening pages of the book But Miss Austen subsequently, and, as we think, wisely, discarded in her remaining efforts the cheap attraction of an alliterative title. Emma and Persuasion, Northanger Abbey and Mansfield Park, are names far more in consonance with the quiet tone of her easy and unobtrusive art.
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With the title of Sense and Sensibility is connected one of those minor problems which delight the cummin-splitters of criticism. In the Cecilia of Madame D'Arblay the forerunner, if not the model, of Miss Austen is a sentence which at first sight suggests some relationship to the name of the book which, in the present series, inaugurated Miss Austen's novels. 'The whole of this unfortunate business' says a certain didactic Dr. Lyster, talking in capitals, towards the end of volume three of Cecilia 'has been the result of Pride and Prejudice,' and looking to the admitted familiarity of Miss Austen with Madame D'Arblay's work, it has been concluded that Miss Austen borrowed from Cecilia, the title of her second novel. But here comes in the little problem to which we have referred. Pride and Prejudice it is true, was written and finished before Sense and Sensibility its original title for several years being First Impressions. Then, in 1797, the author fell to work upon an older essay in letters à la Richardson, called Elinor and Marianne, which she re-christened Sense and Sensibility. This, as we know, was her first published book; and whatever may be the connection between the title of Pride and Prejudice and the passage in Cecilia, there is an obvious connection between the title of Pride and Prejudice and the title of Sense and Sensibility. If Miss Austen re-christened Elinor and Marianne before she changed the title of First Impressions, as she well may have, it is extremely unlikely that the name of Pride and Prejudice has anything to do with Cecilia (which, besides, had been published at least twenty years before). Upon the whole, therefore, it is most likely that the passage in Madame D'Arblay is a mere coincidence; and that in Sense and Sensibility, as well as in the novel that succeeded it in publication, Miss Austen, after the fashion of the old morality plays, simply substituted the leading characteristics of her principal personages for their names. Indeed, in Sense and Sensibility the sense of Elinor, and the sensibility (or rather sensiblerie) of Marianne, are markedly emphasised in the opening pages of the book But Miss Austen subsequently, and, as we think, wisely, discarded in her remaining efforts the cheap attraction of an alliterative title. Emma and Persuasion, Northanger Abbey and Mansfield Park, are names far more in consonance with the quiet tone of her easy and unobtrusive art.
SENSE & SENSIBILITY (The Illustrated Edition))
INTRODUCTION
With the title of Sense and Sensibility is connected one of those minor problems which delight the cummin-splitters of criticism. In the Cecilia of Madame D'Arblay the forerunner, if not the model, of Miss Austen is a sentence which at first sight suggests some relationship to the name of the book which, in the present series, inaugurated Miss Austen's novels. 'The whole of this unfortunate business' says a certain didactic Dr. Lyster, talking in capitals, towards the end of volume three of Cecilia 'has been the result of Pride and Prejudice,' and looking to the admitted familiarity of Miss Austen with Madame D'Arblay's work, it has been concluded that Miss Austen borrowed from Cecilia, the title of her second novel. But here comes in the little problem to which we have referred. Pride and Prejudice it is true, was written and finished before Sense and Sensibility its original title for several years being First Impressions. Then, in 1797, the author fell to work upon an older essay in letters à la Richardson, called Elinor and Marianne, which she re-christened Sense and Sensibility. This, as we know, was her first published book; and whatever may be the connection between the title of Pride and Prejudice and the passage in Cecilia, there is an obvious connection between the title of Pride and Prejudice and the title of Sense and Sensibility. If Miss Austen re-christened Elinor and Marianne before she changed the title of First Impressions, as she well may have, it is extremely unlikely that the name of Pride and Prejudice has anything to do with Cecilia (which, besides, had been published at least twenty years before). Upon the whole, therefore, it is most likely that the passage in Madame D'Arblay is a mere coincidence; and that in Sense and Sensibility, as well as in the novel that succeeded it in publication, Miss Austen, after the fashion of the old morality plays, simply substituted the leading characteristics of her principal personages for their names. Indeed, in Sense and Sensibility the sense of Elinor, and the sensibility (or rather sensiblerie) of Marianne, are markedly emphasised in the opening pages of the book But Miss Austen subsequently, and, as we think, wisely, discarded in her remaining efforts the cheap attraction of an alliterative title. Emma and Persuasion, Northanger Abbey and Mansfield Park, are names far more in consonance with the quiet tone of her easy and unobtrusive art.
With the title of Sense and Sensibility is connected one of those minor problems which delight the cummin-splitters of criticism. In the Cecilia of Madame D'Arblay the forerunner, if not the model, of Miss Austen is a sentence which at first sight suggests some relationship to the name of the book which, in the present series, inaugurated Miss Austen's novels. 'The whole of this unfortunate business' says a certain didactic Dr. Lyster, talking in capitals, towards the end of volume three of Cecilia 'has been the result of Pride and Prejudice,' and looking to the admitted familiarity of Miss Austen with Madame D'Arblay's work, it has been concluded that Miss Austen borrowed from Cecilia, the title of her second novel. But here comes in the little problem to which we have referred. Pride and Prejudice it is true, was written and finished before Sense and Sensibility its original title for several years being First Impressions. Then, in 1797, the author fell to work upon an older essay in letters à la Richardson, called Elinor and Marianne, which she re-christened Sense and Sensibility. This, as we know, was her first published book; and whatever may be the connection between the title of Pride and Prejudice and the passage in Cecilia, there is an obvious connection between the title of Pride and Prejudice and the title of Sense and Sensibility. If Miss Austen re-christened Elinor and Marianne before she changed the title of First Impressions, as she well may have, it is extremely unlikely that the name of Pride and Prejudice has anything to do with Cecilia (which, besides, had been published at least twenty years before). Upon the whole, therefore, it is most likely that the passage in Madame D'Arblay is a mere coincidence; and that in Sense and Sensibility, as well as in the novel that succeeded it in publication, Miss Austen, after the fashion of the old morality plays, simply substituted the leading characteristics of her principal personages for their names. Indeed, in Sense and Sensibility the sense of Elinor, and the sensibility (or rather sensiblerie) of Marianne, are markedly emphasised in the opening pages of the book But Miss Austen subsequently, and, as we think, wisely, discarded in her remaining efforts the cheap attraction of an alliterative title. Emma and Persuasion, Northanger Abbey and Mansfield Park, are names far more in consonance with the quiet tone of her easy and unobtrusive art.
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SENSE & SENSIBILITY (The Illustrated Edition))
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Product Details
| BN ID: | 2940012028570 |
|---|---|
| Publisher: | Uplifting Publications |
| Publication date: | 12/01/2010 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| File size: | 4 MB |
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