小说的女主人公爱玛·伍德豪斯年轻、漂亮、聪明，并且有钱，但她特别喜欢为别人做媒，且经常随心所欲，而不是按照情理。哈里特是个私生女，但年轻漂亮，深为爱玛所喜欢。爱玛认为哈里特虽不太聪明，但如果与既无财产又无地位的罗伯特·马丁成双配对未免太过可惜，她一直坚持哈里特应该找一个有地位的绅士为伴的信念。于是，爱玛把哈里特先后介绍给牧师埃尔顿先生和年轻而富有的弗兰克·邱吉尔，结果均出现僵局。埃尔顿先生在追求爱玛无望之余，因明白爱玛的初衷而颇为气恼，他根本看不起哈里特，很快，他娶了富有的商人的女儿；而弗兰克也早已与漂亮高雅但没有财产的简·费尔法克斯私定终身。这乱点鸳鸯谱闹出的笑话，令爱玛着实吃了不少苦头。不过，虽然爱玛在给别人做媒方面没有任何收获，自己却喜获丰收，与十分出色的乔治·奈特利先生结为连理，这虽与她一开始就宣布的终身不婚的誓言有悖，但坠入情网的她，此时已顾不了那么多了。小说最后以有情人终成眷属的大团圆情形而结束。

《爱玛》是奥斯丁作品中艺术上、思想上最成熟的一部，也是一部匠心独具的天才喜剧之作。小说主人公爱玛是个聪明、漂亮、任性的地主小姐，她喜欢为别人做媒，并把邻近的一个孤女哈里特置于自己的保护之下，主观地安排她的恋爱。哈里特一次又一次地“爱”上爱玛给她选择的“求婚者”，却均以失败而告结束。终于在经历过一番戏剧性的小波折后她们都找到了与自己情投意合的人生伴侣。 批评家托·巴·麦考莱曾评价道：“作家当中其手法最接近于莎士比亚这位大师的，无疑就要数简·奥斯丁了，这位女性堪称是英国之骄傲。她为我们创造出了一大批的人物。” Beautiful, clever, rich - and single - Emma Woodhouse is perfectly content with her life and sees no need for either love or marriage. Nothing, however, delights her more than interfering in the romantic lives of others. But when she ignores the warnings of her good friend Mr Knightley and attempts to arrange a suitable match for her protegee Harriet Smith, her carefully laid plans soon unravel and have consequences that she never expected. With its imperfect but charming heroine and its witty and subtle exploration of relationships, "Emma" is often seen as Jane Austen's most flawless work.

Jane Austen’s last completed novel, Persuasion is a delightful social satire of England’s landed gentry and a moving tale of lovers separated by class distinctions. After years apart, unmarried Anne Elliot, the heroine Jane Austen called “almost too good for me,” encounters the dashing naval officer others persuaded her to reject, as he now courts the rash and younger Louisa Musgrove. Superbly drawn, these characters and those of Anne’s prideful father, Sir Walter, the scheming Mrs. Clay, and the duplicitous William Elliot, heir to Kellynch Hall, become luminously alive—so much so that the poet Tennyson, visiting historic Lyme Regis, where a pivotal scene occurs, exclaimed: “Don’t talk to me of the Duke of Monmouth. Show me the exact spot where Louisa Musgrove fell!” Tender, almost grave, Persuasion offers a glimpse into Jane Austen’s own heart while it magnificently displays the full maturity of her literary power.

在线阅读本书 New chronology and further reading; Tony Tanner's original introduction reinstated Edited with an introduction and notes by Flora Stafford.

Wordsworth Classics covers a huge list of beloved works of literature in English and translations. This growing series is rigorously updated, with scholarly introductions and notes added to new titles. 注：5种封面，随机发送。

Book Description The Wordsworth Classics covers a huge list of beloved works of literature in English and translations. This growing series is rigorously updated, with scholarly introductions and notes added to new titles. Emma Woodhouse thinks a little too highly of herself, and entertains herself by meddling in the affairs of others. The results are not always as she would like. This novel describes the schemes and eventual humbling of Miss Woodhouse. 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 "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 The New York Times, (2/15/97) "An 'Emma' Both Darker and Funnier" "I am going to take a heroine whom no one but myself will much like," Jane Austen wrote of Emma, vastly underestimating her readers' good taste. The trick of adapting Emma is to recapture Austen's delicate balance, which allows us to see why the heroine still has friends and social influence, despite being the worst matchmaker and busybody in the village of Highbury. In this smart and spirited new version, Kate Beckinsale's Emma walks that fine line beautifully. Her Emma meddles in her friends' lives with near-disastrous results, and of course remains blind to her own romantic feelings for her old friends Mr. Knightly. But her sure-fire social assumptions are innocently wrong-headed, not willfully arrogant. In this and almost every other way, this new television film called Jane Austen's Emma represents the flip side of last year's movie with Gwyneth Paltrow. Though both are faithful to Austen's plot, the earlier film was all about brightness and pretty gardens. It was a slick commercial Emma, whose appeal depended on My. Paltrow's graceful looks; not a bad idea, but not nearly what Austen had in mind. Among the flood of recent Austen Movies, this new Emma has the most in common with Persuasion, sharing a smaller scale, a darker tone, and a focus on psychological nuance. Ms. Beckensale's Emma is plainer looking than Ms. Paltrow's, and altogether more believable and funnier. She came to the role well prepared, after playing another socially self-assured comic figure in the recent film Cold Comfort Farm. The screenplay by Andrew Davies (who also did the wise television adaptations of Pride and Prejudice and (Moll Flanders) does a deft job of letting viewers pick up the social cures that Emma misses. We see, as she should, the glances between the eligible Frank Churchill and the poor Jane Fairfax. We can guess that the clergyman Mr. Elton has designs on Emma and her dowry, not on her penniless friend Harriet. This version also makes it clear why Emma and Knightly are such a good match. Like Ms. Beckinsale's Emma, Mark Strong's Knightly does not have movie-star looks, but these two make excellent verbal sparring partners, vehemently matching wits and social observations. Prunella scales also stands out as Miss Bates, the flibbertigibbet, motor-mouthed neighbor whom Emma callously insults at a picnic. Occasionally, this film plays out Emma's fantasies. There is a brief glimpse of Harriet marrying Mr. Elton, and Frank Churchill's portrait comes alive and speaks to Emma, saying, "Miss Woodhouse, we meet at last." The device is used just enough to add an imaginative touch without becoming a useless gimmick. After so many Austen films, it would be easy to overlook this latest, but its charms are those Austen herself might have valued. It is understated and sly, loaded with a sense that even as society as well-ordered as Emma's leaves plenty of room for comic misjudgments and happy endings. 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. From AudioFile The luxury of the unabridged edition requires a certain commitment. But a luxury it is. Jenny Agutter's reading is perfectly suited to the story, both in tone and pace. She brings out the comic insight that is the hallmark of Austen's stories, making one laugh out loud at times, so well has she caught the moment or the temperament of the characters. The genius of Austen's wit often depends, not on what is said, but on how it is said, and Agutter has given the perfect voice to this lighthearted classic, delicately differentiating each character's personality. A glorious way to experience the essential Austen. K.R. From 500 Great Books by Women; review by Chris Kellett First published in 1816, Emma is generally regarded as Jane Austen's most technically brilliant book. But that's not the reason to read it. Read it to see how a scheming heiress who is determined not to marry ends up embracing love and growing in maturity without dying or becoming impossibly insipid, the fate of so many nineteenth-century heroines. As her fourth novel was taking shape, Jane Austen noted "I am going to take a heroine whom no one but myself will much like." She was wrong. It is easy to love Emma Woodhouse. She is a snob, a meddler, and a spoiled child - she is also smart, funny, generous, and compassionate. Determined to control the arrangements of other people's lives, Emma takes on the self-appointed role of matchmaker in a world that grants little public power to women. Small wonder that Emma, who has a "mind lively and at ease," wastes her considerable creative powers dreaming up romantic scenarios that consistently and comically fail all reality checks. As in all of Jane Austen's works, the simple theme of courtship belies the complexity of her vision of human nature and of our need for power. Technical brilliance? Yes. Moral brilliance? Most definitely. Book Dimension : length: (cm)19.8 　　　 　　　　　 　　　　　 width:(cm)12.6 点击链接进入中文版： 爱玛

《劝导:简·奥斯丁全集》是简·奥斯丁的小说集。其中《劝导》描写了一个曲折多磨的爱情故事。贵族小姐安妮·埃利奥特同青年军官温特沃思倾心相爱，订下了婚约。可是，她的父亲沃尔特爵士和教母拉塞尔夫人嫌温特沃思出身卑贱，没有财产，极力反对这门婚事。安妮出于“谨慎”，接受了教母的劝导，忍痛同心上人解除了婚约。八年后，在战争中升了官、发了财的温特沃思上校休役回乡，随姐姐、姐夫当上了沃尔特爵士的房客。他虽说对安妮怨忿未消，但两人不忘旧情，终于历尽曲折，排除干扰，结成良缘。

Northanger Abbey tells the story of a young girl, Catherine Morland who leaves her sheltered, rural home to enter the busy, sophisticated world of Bath in the late 1790s. Austen observes with insight and humour the interaction between Catherine and the various characters whom she meets there, and tracks her growing understanding of the world about her. In this, her first full-length novel, Austen also fixes her sharp, ironic gaze on other kinds of contemporary novel, especially the Gothic school made famous by Ann Radcliffe. Catherine's reading becomes intertwined with her social and romantic adventures, adding to the uncertainties and embarrassments she must undergo before finding happiness.

Here is quite simply the most handsome edition of one of the finest and most popular novels of all time. It features an elegant cloth binding, attractive full-color dust wrapper, handsome typography, and more than 100 delightful illustrations (plus 61 witty illustrated initial letters at chapter openings) by famed English Victorian artist Hugh Thomson.

爱玛·伍德郝斯，漂亮，聪明，富有，有一个舒舒服服的家和快乐的性情，看起来十全十美，无忧无虑地在世上生活了二十一年。 　　她是父亲最小的女儿，父亲对他的两个女儿异常宠爱。姐姐出嫁后，爱玛很早就是家里的主人了。母亲过世很早，她只模糊地记得她的抚爱，没有母亲的缺憾，早已被一位优秀的女家庭教师所弥补，而且在感情上，这位女教师也不比一个母亲差。 　　泰勒小姐和伍德郝斯先生一家已经生活了十六年，更像一个朋友，而不像一位教师。她很喜欢她们两姊妹，尤其是爱玛，她们相处得简直像亲姊妹。泰勒小姐性情温和，在名义上还是教师的时候，她强加管束她们，现在，连教师表面的威严都消失了，她们更是像朋友一样生活在一起，相亲相爱.爱玛喜欢干什么就干什么，尽管她也尊重泰勒小姐的意见，但主要还是按自己的意愿行事。

When Elizabeth Bennet first meets eligible bachelor Fitzwilliam Darcy, she thinks him arrogant and conceited; he is indifferent to her good looks and lively mind. When she later discovers that Darcy has involved himself in the troubled relationship between his friend Bingley and her beloved sister Jane, she is determined to dislike him more than ever. In the sparkling comedy of manners that follows, Jane Austen shows the folly of judging by first impressions and superbly evokes the friendships, gossip and snobberies of provincial middle-class life.

没有任何迹象表明童年时代的凯瑟琳·莫兰朵日后会成为一个女英雄。她家境贫寒，父母社会地位不高，而且她自己的相貌也很一般——所有这些，似乎有意要和她作对似地。不期而然地展现在她的面前，使她的童年变得一片黯淡。她的父亲叫理查德，是个牧师，虽然他有一个帅气的名字，可人长得并不英俊。他尽管家境贫寒，倒也颇受人们的敬重。对于他的女儿们，他惯于放任自流。她的母亲是个脾气随和的女人，一般说来，她的见解平平，但很实用，更重要的是，她有一个健壮的体格。在凯瑟琳出生前，她已经生了三个儿子。有人预料，她会在生下一个孩子的时候死去，但是她却奇迹般地活了下来，并且又生了六个孩子——她看着他们在她的身边一点点长大，心中暗暗为自己健壮的体格感到得意。一个拥有十个孩子的家庭是一个庞大的家庭，在这个庞大的家庭里拥有着数量繁多的头、手和腿，除此之外，似乎很难找到恰如其分的词语来形容莫兰朵一家的生活。总的说来，他们的生活是平淡的，平淡得就如同一潭死水，凯瑟琳就在这种微波不兴的家里生活了很多年。她发育得并不好，身材纤弱，脸色灰黄，了无光泽，黑色的头发也是稀稀疏疏的。

理智与情感，ISBN：9787506248372，作者：（英）简·奥斯汀

Few have failed to be charmed by the witty and independent spirit of Elizabeth Bennet. Her early determination to dislike Mr. Darcy is a prejudice only matched by the folly of his arrogant pride. Their first impressions give way to true feelings in a comedy profoundly concerned with happiness and how it might be achieved. Edited with an Introduction by Vivien Jones

Review `a must for lovers of Austen's work' Choice Magazine `A very good introduction by Kathryn Sutherland' Derwent May, the Times, Book Description 'I doubt whether it would be possible to mention any author of note, whose personal obscurity was so complete.' James Edward Austen-Leigh's Memoir of his aunt Jane Austen was published in 1870, over fifty years after her death. Together with the shorter recollections of James Edward's two sisters, Anna Lefroy and Caroline Austen, the Memoir remains the prime authority for her life and continues to inform all subsequent accounts. These are family memories, the record of Jane Austen's life shaped and limited by the loyalties, reserve, and affection of nieces and nephews recovering in old age the outlines of the young aunt they had each known. They still remembered the shape of her bonnet and the tone of her voice, and their first-hand accounts bring her vividly before us. Their declared partiality also raises fascinating issues concerning biographical truth, and the terms in which all biography functions. This edition brings together for the first time these three memoirs, and also includes Jane's brother Henry Austen's 'Biographical Notice' of 1818 and his lesser known 'Memoir' of 1833, making a unique biographical record.

本书是“牛津名人系列丛书”的一本。形式为英文原文+部分词汇、短语及文化点的注释。该丛书引进自牛津大学出版社，融权威性、简明性、趣味性于一体，语言流畅、地道、准确，内容广博，可读性强，从莎士比亚到丘吉尔，从达尔文到维多利亚女王，囊括了英国历史上最重要、最具影响力的非凡人物。该丛书是广大英语爱好者的最佳读物，是史学、文学爱好者的最佳脚本，是中学生、大学生英语学习的最佳课外英语读物。《简·奥斯汀》的作者是英国当代知名人物传记作家Marilyn。作品主要介绍英国十八世纪著名女作家简·奥斯汀的生平与创作，及其代表作《傲慢与偏见》和《爱玛》。 目录 作者简介 1、童年 2、成长为一名作家 3、早期小说 4、奥斯丁在乔顿 5、死亡与肖像 6、奥斯丁的声誉 资料来源 索引

The novels of Jane Austen depict a world of civility, reassuring stability and continuity, which generations of readers have supposed was the world she herself inhabited. Claire Tomalin's biography paints a surprisingly different picture of the Austen family and their Hampshire neighbours, and of Jane's progress through a difficult childhood, an unhappy love affair, her experiences as a poor relation and her decision to reject a marriage that would solve all her problems - except that of continuing as a writer. Both the woman and the novels are radically reassessed in this biography.

本书以一种平缓的语气讲述了那个时代的生活方式和社会习俗，以及受古希腊文化启发的优雅的风尚和当时田园牧歌式的生活景致。书中有简·奥斯汀和她的家人、朋友生活中不同时期的简介、短文、画像、爱好。感情和她的作品，从最早的童年时期的写作片段到她创作出的伟大的小。书中，除了对这个直接的焦点进行描写，还描写了当时的社会背景。从重大的政治问题，战争和奴隶制到文化领域的风景园艺。绘画，温泉，疗养地，旅游胜地和上流社会，简·奥斯汀曾经写道：“乡村的三四户人家是恰当的写作背景。”然而小说是在大的写作背景下发生的，而玛吉·莱恩的写作方法正是简·奥斯汀完全固定在一个历史背景环境中。我们能看到摄政时期人们关心的事物，当时的社会，文化都展现在小说里。

傲慢与偏见，ISBN：9787532750849，作者：（英）奥斯丁 著，王科 译