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Jane Austen（简·奥斯汀） 著

图书标签:

• 古典小说
• 英国文学
• 简·奥斯汀
• 爱情
• 讽刺
• 社会评论
• 哥特小说
• 成长小说
• 幽默
• 19世纪文学

出版社： Random House

ISBN：9780553211979

商品编码：19017052

包装：平装

丛书名： Bantam Classic

出版时间：1985-09-01

页数：240

正文语种：英文

商品尺寸：17.27x10.41x2.03cm

编辑推荐

Austen is the hot property of the entertainment world with new feature film versions of Persuasion and Sense and Sensibility on the silver screen and Pride and Prejudice hitting the TV airwaves on PBS. Such high visibility will inevitably draw renewed interest in the original source materials. These new Modern Library editions offer quality hardcovers at affordable prices.

内容简介

The earliest of her six major novels, NorthangerAbbey remained unpublished until after Jane Austen's death. A deliciously witty satire of popular Gothic romances, it is perhaps Austen's lightest, most delightful excursion into a young woman's world. Catherine Morland, an unlikely heroine—unlikely because she is so ordinary—forsakes her English village for the pleasures and perils of Bath. There, among a circle of Austen's wonderfully vain, dissembling, and fashionable characters, she meets a potential suitor, Henry Tilney. But with her imagination fueled by melodramatic novels, Catherine turns a visit to his home, Northanger Abbey, into a hunt for dark family secrets. The result is a series of hilarious social gaffes and harsh awakenings that for all of Austen's youthful exuberance nevertheless conveys her mature vision of literature and life—and the consequences of mistaking one for the other.

作者简介

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.

　　简·奥斯汀，是英国著名女性小说家，她的作品主要关注乡绅家庭女性的婚姻和生活，以女性特有的细致入微的观察力和活泼风趣的文字真实地描绘了她周围世界的小天地。

精彩书摘

Chapter One

No one who had ever seen Catherine Morland in her infancy, would have supposed her born to be an heroine. Her situation in life, the character of her father and mother, her own person and disposition, were all equally against her. Her father was a clergyman, without being neglected, or poor, and a very respectable man, though his name was Richard—and he had never been handsome. He had a considerable independence, besides two good livings—and he was not in the least addicted to locking up his daughters. Her mother was a woman of useful plain sense, with a good temper, and, what is more remarkable, with a good constitution. She had three sons before Catherine was born; and instead of dying in bringing the latter into the world, as any body might expect, she still lived on—lived to have six children more—to see them growing up around her, and to enjoy excellent health herself. A family of ten children will be always called a fine family, where there are heads and arms and legs enough for the number; but the Morlands had little other right to the word, for they were in general very plain, and Catherine, for many years of her life, as plain as any. She had a thin awkward figure, a sallow skin without colour, dark lank hair, and strong features;—so much for her person;—and not less unpropitious for heroism seemed her mind. She was fond of all boys' plays, and greatly preferred cricket not merely to dolls, but to the more heroic enjoyments of infancy, nursing a dormouse, feeding a canary-bird, or watering a rose-bush. Indeed she had no taste for a garden; and if she gathered flowers at all, it was chiefly for the pleasure of mischief—at least so it was conjectured from her always preferring those which she was forbidden to take.—Such were her propensities—her abilities were quite as extraordinary. She never could learn or understand any thing before she was taught; and sometimes not even then, for she was often inattentive, and occasionally stupid. Her mother was three months in teaching her only to repeat the "Beggar's Petition;" and after all, her next sister, Sally, could say it better than she did. Not that Catherine was always stupid,—by no means; she learnt the fable of "The Hare and many Friends," as quickly as any girl in England. Her mother wished her to learn music; and Catherine was sure she should like it, for she was very fond of tinkling the keys of the old forlorn spinnet; so, at eight years old she began. She learnt a year, and could not bear it;—and Mrs. Morland, who did not insist on her daughters being accomplished in spite of incapacity or distaste, allowed her to leave off. The day which dismissed the music-master was one of the happiest of Catherine's life. Her taste for drawing was not superior; though whenever she could obtain the outside of a letter from her mother, or seize upon any other odd piece of paper, she did what she could in that way, by drawing houses and trees, hens and chickens, all very much like one another.—Writing and accounts she was taught by her father; French by her mother: her proficiency in either was not remarkable, and she shirked her lessons in both whenever she could. What a strange, unaccountable character!—for with all these symptoms of profligacy at ten years old, she had neither a bad heart nor a bad temper; was seldom stubborn, scarcely ever quarrelsome, and very kind to the little ones, with few interruptions of tyranny; she was moreover noisy and wild, hated confinement and cleanliness, and loved nothing so well in the world as rolling down the green slope at the back of the house.

Such was Catherine Morland at ten. At fifteen, appearances were mending; she began to curl her hair and long for balls; her complexion improved, her features were softened by plumpness and colour, her eyes gained more animation, and her figure more consequence. Her love of dirt gave way to an inclination for finery, and she grew clean as she grew smart; she had now the pleasure of sometimes hearing her father and mother remark on her personal improvement. "Catherine grows quite a good-looking girl,—she is almost pretty to day," were words which caught her ears now and then; and how welcome were the sounds! To look almost pretty, is an acquisition of higher delight to a girl who has been looking plain the first fifteen years of her life, than a beauty from her cradle can ever receive.

Mrs. Morland was a very good woman, and wished to see her children every thing they ought to be; but her time was so much occupied in lying-in and teaching the little ones, that her elder daughters were inevitably left to shift for themselves; and it was not very wonderful that Catherine, who had by nature nothing heroic about her, should prefer cricket, base ball, riding on horseback, and running about the country at the age of fourteen, to books—or at least books of information—for, provided that nothing like useful knowledge could be gained from them, provided they were all story and no reflection, she had never any objection to books at all. But from fifteen to seventeen she was in training for a heroine; she read all such works as heroines must read to supply their memories with those quotations which are so serviceable and so soothing in the vicissitudes of their eventful lives.

《傲慢与偏见》：简·奥斯汀的经典之作 （Austen, Jane） 楔子：关于“好婚姻”的永恒探讨 在英格兰宁静的乡村风景中，坐落着许多像朗伯恩庄园（Longbourn）一样，由一位精力充沛、有些神经质的母亲——贝内特太太（Mrs. Bennet）所主宰的家庭。她的毕生使命，便是将她的五个女儿——简（Jane）、伊丽莎白（Elizabeth）、玛丽（Mary）、凯瑟琳（Kitty）和莉迪亚（Lydia）——嫁给有钱有势的绅士。这并非全然出于贪婪，而是在18世纪末，对于没有继承权的女性而言，婚姻是她们唯一的社会保障和经济出路。 《傲慢与偏见》正是以这样一个充满活力、对未来充满期待的家庭为背景，展开了一幅关于爱情、阶级、误解与自我认知的社会风俗画。这部小说，超越了简单的爱情故事范畴，它以极其犀利和幽默的笔触，剖析了当时英国上流社会与中产阶级之间的微妙界限，以及人与人之间交往的复杂艺术。 核心人物与命运的交织 故事的中心，围绕着两位截然不同，却又在命运的安排下不断碰撞的灵魂展开： 伊丽莎白·贝内特 (Elizabeth Bennet)： 她是贝内特家的二女儿，也是全书最富魅力的角色。伊丽莎白拥有敏捷的才智、活泼的性情和一双善于观察的眼睛。她珍视独立思考，不轻易屈服于社会压力，这一点在那个时代显得尤为独特。然而，她的“机敏”有时也演变成了对人性的过度自信，使她轻易地根据第一印象作出判断——这正是她“偏见”的根源。 菲茨威廉·达西先生 (Mr. Fitzwilliam Darcy)： 他是书中另一位至关重要的角色，一个英俊、富有，但极其骄傲的贵族地主。达西先生拥有巨额的财富和庞大的产业彭伯利（Pemberley），这使得他在社交场合中显得超凡脱俗。然而，他冰冷的举止和对社交场合中“不合规矩”的人表现出的轻蔑，使他轻易地被贴上了“傲慢”的标签。他将自己的高贵身份视为一种无可置疑的优越性，对低阶层的人抱有一种近乎天然的疏离感。 故事的序幕：巴内特家的“新邻居” 故事的开端，是北安普顿郡迎来了两位重要的单身汉。首先是风度翩翩、彬彬有礼的查尔斯·宾利先生 (Mr. Charles Bingley)，他带着巨资和愉悦的心情，租下了附近的尼日斐庄园（Netherfield Park）。更重要的是，他带来了他的两个姐妹，以及他那位高傲的朋友——达西先生。 在一次乡村舞会上，宾利先生立刻被温柔娴静的大女儿简·贝内特所吸引。两人的互动如同春日暖阳，自然而然，充满希望。然而，达西先生却成了人群中的焦点，但却是以负面形象出现。他拒绝与当地的年轻女士跳舞，并被伊丽莎白无意中听到他对她的评价：“她还算过得去，但还不够漂亮，不值得我多看一眼。” 这一刻，伊丽莎白的“偏见”之种便埋下了。她将达西的傲慢视为对她和她家庭的公然侮辱，并开始利用她敏锐的洞察力，去捕捉达西先生一切可能失礼的瞬间。 误解的升级与情感的漩涡 随着故事的发展，情节围绕着几条重要的情感线索展开： 简与宾利的纯粹之爱： 简的善良和她的“不善表露情感”的性格，与宾利先生的易受影响的性格形成了鲜明对比。达西先生出于对贝内特家族（特别是贝内特太太和几个妹妹的粗鲁言行）的轻视，以及对简“情感不够热烈”的误判，采取了干预，说服宾利离开了尼日斐庄园。 伊丽莎白与达西的激烈交锋： 达西先生虽然鄙视伊丽莎白家庭的地位，却被她非凡的智慧和灵动的神采深深吸引。他内心经历了痛苦的挣扎——他极力压抑自己对她的好感，却最终无法控制。 在一次出乎所有人意料的场合中，达西向伊丽莎白求婚。他的求婚词充满了对她家庭社会地位的贬低，这彻底激怒了伊丽莎白。她严厉地拒绝了他，并指控他两个主要罪行：一是拆散了简和宾利；二是残忍地对待了一位名叫乔治·威克汉姆 (George Wickham) 的年轻军官。 威克汉姆是一个英俊迷人的浪子，他向伊丽莎白讲述了达西先生如何剥夺了他本应继承的遗产和财富，将他置于贫困之中的故事。伊丽莎白深信不疑，对达西的厌恶达到了顶峰。 偏见的消解与真相的浮现 在伊丽莎白拒绝达西后不久，达西先生留下了一封长信，详细解释了他行动背后的动机和真相。这封信是小说的转折点： 1. 关于宾利与简： 达西坦承他确实干预了，但他解释是因为他认为简对宾利的感情不够深，不愿看到自己的朋友受伤害。 2. 关于威克汉姆： 信中揭示了威克汉姆的真面目。他并非无辜的受害者，而是个惯于挥霍、试图勾引达西先生妹妹乔治亚（Georgiana Darcy）以骗取财产的骗子。达西出手相助，只是履行了监护人的责任。 这封信如同一记重锤，敲碎了伊丽莎白建立在虚假信息和个人傲慢之上的判断。她意识到，自己是多么容易被表象蒙蔽，她对威克汉姆的迷恋，恰恰是因为他迎合了她对达西的厌恶。她谦卑地承认了自己的“偏见”。 峰回路转：彭伯利的洗礼 不久后，伊丽莎白在伯肯郡（Hertfordshire）的姨妈和姨父加德纳夫妇（Mr. and Mrs. Gardiner）的陪同下，参观了达西先生的庄园彭伯利。庄园的宏伟、下人对主人毫无保留的赞美，以及达西先生在家的和蔼可亲的形象，开始为他重塑形象。 当达西先生意外归来，面对伊丽莎白时，他收敛了所有的傲慢，展现出真诚的礼貌和热情。他为伊丽莎白一家介绍，并对她的妹妹莉迪亚（Lydia）的鲁莽行为表现出极大的理解与宽容。 危机与最终的救赎 就在伊丽莎白开始重新审视对达西的感情时，一场巨大的危机爆发了：小妹莉迪亚与威克汉姆私奔了。在当时的社会，一个未婚女子与男人私奔，意味着整个家庭名誉的毁灭。 伊丽莎白得知此事后心灰意冷，她认为自己与达西再无可能。然而，最终是达西先生，在秘密动用了巨大的人力物力财力后，找到了私奔的两人，并强迫威克汉姆娶了莉迪亚，从而挽救了贝内特家的声誉。达西做这一切，既是为了替自己过去的失礼行为赎罪，也是因为他对伊丽莎白的深爱。 当伊丽莎白从加德纳夫妇口中得知真相时，她对达西的爱慕之情彻底战胜了所有的阶级偏见。 结局：傲慢的放下与偏见的消除 宾利先生在达西的鼓励下，重返尼日斐，并成功向简求婚。 随后，达西先生再次向伊丽莎白求婚。这次，他谦卑地承认了自己过去“傲慢”的态度，承认自己已经学会了尊重他人的价值，不再以阶级衡量一切。伊丽莎白也坦诚自己曾经的“偏见”，并接受了他的爱。 小说最终以两对幸福的联姻告终，展现了简·奥斯汀对“恰当的结合”的理解：真正的婚姻必须建立在相互的理解、真诚的尊重和相似的价值观之上，而非仅仅是财富或表面的吸引力。这部作品是对人性弱点的深刻洞察，也是对真正爱情可能性的坚定信念。

评分☆☆☆☆☆

这本书的结构布局非常精巧，它像是一张层层递进的网，将不同的社会群体和他们的生活方式巧妙地编织在一起。我尤其喜欢作者在描绘不同家庭环境时所展现出的那种对比——一派是恪守传统、注重体面与教养的，另一派则是相对自由散漫、更追求自我感受的。这种对比不仅仅是物质层面的差异，更是价值观的冲突。书中对于“诚实”与“虚饰”的探讨，贯穿始终，让人不禁反思，在那个讲究场面和身份的社会里，真诚究竟是一种美德还是一种负担？每次读到一些角色因为缺乏洞察力而陷入窘境时，我都替他们感到着急，但转念一想，或许我们自己，在面对信息不全或带有偏见时，也未尝不是如此呢？这种引发自我审视的力量，是优秀文学作品不可替代的价值所在。总而言之，它是一次对特定时代风貌和人性复杂性的深刻考察。

评分☆☆☆☆☆

我得说，这本书的叙事节奏把握得相当到位，它不像某些经典名著那样缓慢得令人望而却步，而是恰到好处地牵引着读者的好奇心。一开始的铺垫或许显得有些日常，但当你进入到那些复杂的社交场合后，情节的张力便迅速提升。我特别欣赏作者在处理对话时的那种机智和锋芒，人物之间的唇枪舌剑，往往比那些所谓的“重大事件”更能体现他们的性格和阶层属性。比如，那些关于品味、礼仪、乃至文学鉴赏的争论，表面上是闲聊，实则暗藏着价值判断和身份认同的较量。读到那些误会产生、谣言四起的地方，我甚至能感觉到一种令人窒息的社交压力，仿佛自己也害怕说错话，做错事。这种对日常生活中微妙权力关系的捕捉，让我对那个时代的理解加深了不止一个层面。通读下来，你会发现，真正的“戏剧性”往往不是惊天动地的变故，而是人心中的那些细微的波动和不安。

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从文学技法的角度来看，这部作品在视角转换和信息披露上做得极其老练。作者似乎总能在关键时刻，通过一个旁观者的视角，点醒主人公（以及读者）那些先前被蒙蔽的真相。这种“慢热”的真相揭示过程，极大地增强了阅读的参与感。你必须像侦探一样，将那些零星的线索和不经意的评论拼凑起来，才能构建出完整的图景。书中对“感知”和“现实”之间差距的探讨，简直可以拿出来单独分析。它教会我们，仅仅依靠接收到的信息和自身的情感投射去构建世界，是多么危险的事情。每当主人公的幻想破灭时，我们都能清晰地感受到那种从云端跌落的震撼，但这并非是悲剧性的，而更像是一种成长的阵痛。这种通过情节推动主题，最终指向对理性思考的推崇，使得整本书的立意非常高远，绝非仅仅是一部消遣之作。

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这部小说真是让人欲罢不能，我几乎是连夜读完的。作者的笔触细腻入微，对于人物心理的刻画简直是入木三分。尤其是对于女主人公那种既天真又带着一丝早熟的矛盾情感的展现，让我感同身受。你几乎能透过文字，看到她在那些贵族沙龙中小心翼翼地观察周围的一切，试图从那些彬彬有礼的举止背后，窥探到更深层次的动机和秘密。那种对浪漫和戏剧性的向往，与现实的平淡和偶尔的残酷之间的拉扯，写得太真实了。书中的场景设置也极其考究，那些古老的庄园、幽暗的回廊，都成了烘托人物心境的绝佳背景。每次读到某些关键情节时，我都能清晰地感受到那种扑面而来的英伦乡村气息，混合着一丝丝挥之不去的幽默感。虽然故事的主线看似围绕着爱情和婚姻展开，但它对当时社会风俗的讽刺，尤其是对那些虚伪做作的贵族阶层的揶揄，绝对是高明且辛辣的。不得不说，阅读体验极佳，完全沉浸其中，仿佛自己也成了那个身处漩涡中心的观察者。

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坦白讲，我一开始对这类背景设定的小说抱有一丝保留，总担心会过于沉闷或说教。但出乎意料的是，这部作品的幽默感实在太妙了。它不是那种直白的滑稽，而是一种建立在敏锐观察之上的、带着讥诮意味的智慧。那种不动声色地嘲讽那些不合时宜的矫揉造作，真是让人忍不住嘴角上扬。许多场景，比如主角对某些“哥特式”情节的过度想象，与接踵而至的现实反差，所产生的喜剧效果是如此自然和谐。这种幽默感，似乎也成了作者对抗当时某些僵化社会规范的一种温和而有效的武器。它让沉重的社会议题变得轻盈可读，让读者在享受故事的同时，也能体会到一种智力上的愉悦。可以说，这种恰到好处的调侃，是整部作品的灵魂之一，让它摆脱了许多同类作品的刻板印象。

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老实说有点小失望，看起来像盗版的

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奥斯汀女士的作品值得收藏。

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很好

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还不错的。

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好书一本，值得购买，值得一读。

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很好的书。

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很好的书，这个出版社的书页竟然变白了，神奇。

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好书天天读, 才有进步哈.

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价格合适 口袋书 很有感觉