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Sense and Sensibility

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Sense and Sensibility
Title page from the original 1811 edition
AuthorJane Austen
LanguageEnglish
GenreRomance novel
PublisherThomas Egerton, Military Library (Whitehall, London)
Publication date
30 October 1811[1]
Publication placeUnited Kingdom
OCLC44961362
Followed byPride and Prejudice 
TextSense and Sensibility at Wikisource

Sense and Sensibility (working title; Elinor and Marianne) is the first novel by the English author Jane Austen, published in 1811. It was published anonymously; By A Lady appears on the title page where the author's name might have been. It tells the story of the Dashwood sisters, Elinor (age 19) and Marianne (age 16½) as they come of age. They have an older half-brother, John, and a younger sister, Margaret (age 13).

The novel follows the three Dashwood sisters and their widowed mother as they are forced to leave the family estate at Norland Park and move to Barton Cottage, a modest home on the property of distant relative Sir John Middleton. There Elinor and Marianne experience love, romance, and heartbreak. The novel is set in South West England, London, and Sussex, probably between 1792 and 1797.[2]

The novel, which sold out its first print run of 750 copies in the middle of 1813, marked a success for its author. It had a second print run later that year. It was the first Austen title to be republished in England after her death, and the first illustrated Austen book produced in Britain, in Richard Bentley's Standard Novels series of 1833.[3] The novel has been in continuous publication since 1811, and has many times been illustrated, excerpted, abridged, and adapted for stage, film, and television.[4]

Plot summary

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On his deathbed, Henry Dashwood gets John, his son by his first wife, to promise to take care of his stepmother and half-sisters, Elinor, Marianne and Margaret, from his inheritance. But Fanny, John's wife, persuades her husband not to support them financially, leaving them to survive on a greatly reduced income.

Fanny’s brother Edward Ferrars comes on a visit, but when Elinor and he seem to be growing close, Fanny warns Mrs Dashwood that Edward is destined for higher things by their mother. Affronted by this, Mrs Dashwood decides to move her family to Barton Cottage in Devonshire, which has been offered her at a low rent by her second cousin, Sir John Middleton. Later, while dining with the Middletons at Barton Park, Marianne attracts the attention of a family friend, Colonel Brandon. However, he is aged thirty-five, which seems much too old to the romantic sensibility of sixteen-year-old Marianne.

Marianne sprains her ankle out walking, but is carried home by John Willoughby, who sees her fall. During subsequent visits their similar artistic tastes cause the girl to fall in love with him, abandoning caution and propriety. Just as an engagement seems imminent, however, Willoughby informs the Dashwoods that his elderly cousin Mrs. Smith, upon whom he is financially dependent due to his debts, is sending him to London indefinitely on business, leaving Marianne distraught.

When Edward Ferrars pays a visit to Barton Cottage, he seems subdued. Shortly afterwards, sisters Anne and Lucy Steele, vulgar cousins of Sir John’s mother-in-law, Mrs. Jennings, come to stay at Barton Park. While there, Lucy forces on Elinor the secret of her prior engagement to Edward, giving Elinor an insight into Lucy's jealous and calculating nature.

Mrs Jennings invites the elder Dashwood sisters on a visit to London. After Marianne’s letters to Willoughby go unanswered, they meet later at a dance. Willoughby is with another woman and greets Marianne coldly, later informing her of his engagement to the rich Miss Grey. Marianne is distraught but admits to Elinor that she and Willoughby never were actually engaged.

Colonel Brandon now reveals to Elinor that Willoughby had earlier seduced and abandoned Brandon's teenaged ward, Eliza Williams. Willoughby's cousin has consequently disinherited him, which explains his need to marry an heiress. Meanwhile, the Steele sisters come to London and are invited to stay at John and Fanny Dashwood's London house in preference to Elinor and Marianne. On account of their cordiality, Anne believes that the Ferrars have become fond enough of Lucy to welcome her into the family and betrays to them Lucy's engagement to Edward. As a result, the sisters are dismissed from the house, and Edward is ordered by his wealthy mother to break off the engagement. When Edward refuses, he is disinherited in favour of his younger brother. On learning this, Colonel Brandon shows his admiration for Edward’s honourable conduct by offering him the clerical living of a nearby parsonage, so as to enable him to marry Lucy after he is ordained.

Mrs. Jennings now takes the Dashwood sisters to visit her second daughter as they make their way back to Devonshire. Marianne goes walking in the rain and her life is endangered by contracting putrid fever. When Elinor writes home, Colonel Brandon, who lives nearby, volunteers to go and bring back Marianne's mother. That night too, Willoughby arrives and reveals to Elinor that his love for Marianne had been genuine. However, the callous way in which he talks of Eliza and his wife lessens her pity for him.

Marianne recovers from her illness and, learning of Elinor’s own silent heartache, becomes ashamed of her ostentatious grief, vowing to be guided by her sister’s good sense and emend her behaviour in future.

After their return home, a family servant meets Lucy passing through the nearby market town and brings them the message that she has married and is now Mrs Ferrars. This final act of spite becomes obvious when Edward arrives to reveal that Lucy had jilted him and married his now wealthy brother. After ordaining, Edward marries Elinor, while Marianne later marries Colonel Brandon. The two sisters can now live as neighbours and in harmony with each other.

Development of the novel

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Jane Austen wrote the first draft of the novel in the form of a novel-in-letters (epistolary form) perhaps as early as 1795 when she was about 19 years old, or 1797, at age 21, and is said to have given it the title Elinor and Marianne. She later changed the form to a narrative and the title to Sense and Sensibility.[5]

Austen drew inspiration for Sense and Sensibility from other novels of the 1790s that treated similar themes, including Adam Stevenson's Life and Love (1785) which he had written about himself and a relationship that was not meant to be. Jane West's A Gossip's Story (1796), which features one sister full of rational sense and another sister of romantic, emotive sensibility, is considered to have been an inspiration as well. West's romantic sister-heroine also shares her first name, Marianne, with Austen's. There are further textual similarities, described in a modern edition of West's novel.[6]

Austen may have drawn on her knowledge of Warren Hastings, the first Governor-General of India, in her portrayal of Colonel Brandon. Hastings had been rumoured to be the biological father of Austen's cousin Eliza de Feuillide. Linda Robinson Walker argues that Hastings "haunts Sense and Sensibility in the character of Colonel Brandon": both left for India at the age of seventeen; Hastings may have had an illegitimate daughter named Eliza; both Hastings and Brandon participated in a duel.[7]

Title

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"Sense" means good judgment, wisdom, or prudence, and "sensibility" means sensitivity, sympathy, or emotionality. Elinor is described as a character with great "sense" (although Marianne, too, is described as having sense), and Marianne is identified as having a great deal of "sensibility" (although Elinor, too, feels deeply, without expressing it as openly). By changing the title, Austen added "philosophical depth" to what began as a sketch of two characters.[8]

Critical views

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Sense and Sensibility, much like Austen's other fiction, has attracted a large body of criticism from many different approaches. Early reviews of Sense and Sensibility focused on the novel as providing lessons in conduct (which would be debated by many later critics), as well as reviewing the characters. The Norton Critical Edition of Sense and Sensibility, edited by Claudia Johnson, contains a number of reprinted early reviews in its supplementary material. An "Unsigned Review" in the February 1812 Critical Review praises Sense and Sensibility as well-written with well-supported and -drawn characters, realistic, and with a "highly pleasing" plot in which "the whole is just long enough to interest the reader without fatiguing."[9] This review praises Mrs. Dashwood, the mother of the Dashwood sisters, as well as Elinor, and claims that Marianne's extreme sensibility makes her miserable.[9] It claims that Sense and Sensibility has a lesson and moral which is made clear through the plot and the characters.[9] Another "Unsigned Review" from the May 1812 British Critic further emphasises the novel's function as a type of conduct book. In this author's opinion, Austen's favouring of Elinor's temperament over Marianne's provides the lesson.[9] The review claims that "the object of the work is to represent the effects on the conduct of life, of discreet quiet good sense on the one hand, and an overrefined and excessive susceptibility on the other."[9] The review states that Sense and Sensibility contains "many sober and salutary maxims for the conduct of life" within a "very pleasing and entertaining narrative."[9] W. F. Pollock's 1861 review from Frasier's Magazine, titled "British Novelists", is what editor Claudia Johnson terms an "early example of what would become the customary view of Sense and Sensibility."[10] In addition to emphasising the novel's morality, Pollock reviews the characters in catalogue-like fashion, praising and criticising them in according to the notion that Austen favours Elinor's point of view and temperament.[10] Pollock even praises Sir John Middleton and Mrs. Jennings, and comments on the humour of Mr. Palmer and his "silly wife."[10] Pollock criticises Sir John Dashwood's selfishness without mentioning Fanny's influence upon them. He also criticises the Steele sisters for their vulgarity.[10]

An anonymous piece titled "Miss Austen" published in 1866 in The Englishwoman's Domestic Magazine departs from other early criticism in its sympathising with Marianne over Elinor, claiming that Elinor is "too good" a character.[11] The article also differs from other reviews in that it claims that the "prevailing merit" of the book is not in its sketch of the two sisters; rather, the book is effective because of its "excellent treatment of the subordinate characters."[11] Alice Meynell's 1894 article "The Classic Novelist" in the Pall Mall Gazette also concurs with Austen's attention to small things. Meynell claims that Austen deals in lesser characters and small matters because "that which makes life, art, and work trivial is a triviality of relations."[12] In her attention to secondary characters, Meynell discusses the children's function to "illustrate the folly of their mothers," especially Lady Middleton.[12]

Austen biographer Claire Tomalin argues that Sense and Sensibility has a "wobble in its approach", which developed because Austen, in the course of writing the novel, gradually became less certain about whether sense or sensibility should triumph.[13] Austen characterises Marianne as a sweet person with attractive qualities: intelligence, musical talent, frankness, and the capacity to love deeply. She also acknowledges that Willoughby, with all his faults, continues to love and, in some measure, appreciate Marianne. For these reasons, some readers find Marianne's ultimate marriage to Colonel Brandon an unsatisfactory ending.[14]

The Dashwood sisters stand apart as being virtually the only characters capable of intelligent thought and any sort of deep thinking.[15] Brownstein wrote that the differences between the Dashwood sisters have been exaggerated, and in fact the sisters are more alike than they are different, with Elinor having an "excellent heart" and being capable of the same romantic passions as Marianne feels, while Marianne has much sense as well.[15] Elinor is more reserved, more polite, and less impulsive than Marianne who loves poetry, taking walks across picturesque landscapes and believes in intense romantic relationships, but it is this very closeness between the sisters that allows these differences to emerge during their exchanges.[15]

Many critics explore Sense and Sensibility in relation to authors and genres popular during Austen's time. One of the most popular forms of fiction in Austen's time was epistolary fiction. This is a style of writing in which all of the action, dialogue, and character interactions are reflected through letters sent from one or more of the characters. In her book Romantic Correspondence: Women, Politics, and the Fiction of Letters, Mary Favret explores Austen's fraught relationship with epistolary fiction, claiming that Austen "wrestled with epistolary form" in previous writings and, with the publication of Sense and Sensibility, "announced her victory over the constraints of the letter."[16] Favret contends that Austen's version of the letter separates her from her "admired predecessor, Samuel Richardson" in that Austen's letters are "a misleading guide to the human heart which, in the best instances, is always changing and adapting."[16] According to Favret, the character of Elinor Dashwood is an "anti-epistolary heroine" whose "inner world" of thoughts and feelings does not find "direct expression in the novel, although her point of view controls the story."[16] Sense and Sensibility establishes what Favret calls a "new privacy" in the novel, which was constrained by previous notions of the romance of letters.[16] This new privacy is a "less constraining mode of narration" in which Austen's narrator provides commentary on the action, rather than the characters themselves through the letters.[16] Favret claims that in Sense and Sensibility, Austen wants to "recontextualize" the letter and bring it into a "new realism."[16] Austen does so by imbuing the letter with dangerous power when Marianne writes to Willoughby; both their love and the letter "prove false."[16] Additionally, Favret claims that Austen uses both of the sisters' letter writing to emphasise the contrasts in their personalities.[16] When both of the sisters write letters upon arriving in London, Elinor's letter is the "dutiful letter of the 'sensible sister'" and Marianne writes a "vaguely illicit letter" reflecting her characterisation as the "sensitive" sister.[16] What is perhaps most striking about Favret's analysis is that she notes that the lovers who write to one another never unite with each other.[16]

A common theme of Austen criticism has been on the legal aspects of society and the family, particularly wills, the rights of first and second sons, and lines of inheritance. Gene Ruoff's book Jane Austen's Sense and Sensibility explores these issues in a book-length discussion of the novel. Ruoff's first two chapters deal extensively with the subject of wills and the discourse of inheritance. These topics reveal what Ruoff calls "the cultural fixation on priority of male birth."[17] According to Ruoff, male birth is by far the dominant issue in these legal conversations. Ruoff observes that, within the linear family, the order of male birth decides issues of eligibility and merit.[17] When Robert Ferrars becomes his mother's heir, Edward is no longer appealing to his "opportunistic" fiancée Lucy, who quickly turns her attention to the foppish Robert and "entraps him" in order to secure the inheritance for herself.[17] According to Ruoff, Lucy is specifically aiming for the heir because of the monetary advantage.[17] William Galperin, in his book The History Austen, comments on the tendency of this system of patriarchal inheritance and earning as working to ensure the vulnerability of women.[18] Because of this vulnerability, Galperin contends that Sense and Sensibility shows marriage as the only practical solution "against the insecurity of remaining an unmarried woman."[18]

Feminist critics have long been engaged in conversations about Jane Austen, and Sense and Sensibility has figured in these discussions, especially about the patriarchal system of inheritance and earning. Sandra M. Gilbert and Susan Gubar's seminal feminist work The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Imagination contains several discussions of Sense and Sensibility. Gilbert and Gubar read the beginning of Sense and Sensibility as a retelling of King Lear from a female perspective and contend that these "reversals imply that male traditions need to be evaluated and reinterpreted from a female perspective."[19] Gilbert and Gubar argue that Austen explores the effects of patriarchal control on women, particularly in the spheres of employment and inheritance. In Sense and Sensibility they educe the fact that Mr. John Dashwood sends his stepmother and half sisters from their home as well as promised income, as an instance of these effects. They also point to the "despised" Mrs. Ferrars's tampering with the patriarchal line of inheritance in her disowning of her elder son, Edward Ferrars, as proof that this construction is ultimately arbitrary.[19] Gilbert and Gubar contend that while Sense and Sensibility's ultimate message is that "young women like Marianne and Elinor must submit to powerful conventions of society by finding a male protector," women such as Mrs. Ferrars and Lucy Steele demonstrate how women can "themselves become agents of repression, manipulators of conventions, and survivors."[19] In order to protect themselves and their own interests, Mrs. Ferrars and Lucy Steele must participate in the same patriarchal system that oppresses them.

In the chapter "Sense and Sensibility: Opinions Too Common and Too Dangerous" from her book Jane Austen: Women, Politics, and the Novel, Claudia Johnson also gives a feminist reading of Sense and Sensibility. She differs from previous critics, especially the earliest ones, in her contention that Sense and Sensibility is not, as it is often assumed to be, a "dramatized conduct book" that values "female prudence" (associated with Elinor's sense) over "female impetuosity" (associated with Marianne's sensibility).[20] Rather, Johnson sees Sense and Sensibility as a "dark and disenchanted novel" that views "institutions of order" such as property, marriage, and family in a negative light, an attitude that makes the novel the "most attuned to social criticism" of Austen's works.[20] According to Johnson, Sense and Sensibility critically examines the codes of propriety as well as their enforcement by the community.[20] Key to Austen's criticism of society, runs Johnson's argument, is the depiction of the unfair marginalisation of women resulting from the "death or simple absence of male protectors."[20] Additionally, the male characters in Sense and Sensibility are depicted unfavourably. Johnson calls the gentlemen in Sense and Sensibility "uncommitted sorts" who "move on, more or less unencumbered, by human wreckage from the past."[20] In other words, the men do not feel a responsibility to anyone else. Johnson compares Edward to Willoughby in this regard, claiming that all of the differences between them as individuals do not hide the fact that their failures are actually identical; Johnson calls them both "weak, duplicitous, and selfish," lacking the honesty and forthrightness with which Austen endows other "exemplary gentlemen" in her work.[20] Johnson's comparison of Edward and Willoughby reveals the depressing picture about gentlemen presented in the novel.

Mary Poovey's analysis in The Proper Lady and the Woman Writer: Ideology as Style in the Works of Mary Wollstonecraft, Mary Shelley and Jane Austen concurs with Johnson's on the dark tone of Sense and Sensibility. Poovey contends that Sense and Sensibility has a "somber tone" in which conflict breaks out between Austen's engagement with her "self-assertive characters" and the moral codes necessary to control their potentially "anarchic" desires.[21] Austen shows, according to Poovey, this conflict between individual desire and the restraint of moral principles through the character of Elinor herself.[21] Except for Elinor, all of the female characters in Sense and Sensibility experience some kind of female excess. Poovey argues that while Austen does recognise "the limitations of social institutions," she demonstrates the necessity of controlling the "dangerous excesses of female feeling" rather than liberating them.[21] She does so by demonstrating that Elinor's self-denial, especially in her keeping of Lucy Steele's secret and willingness to help Edward, even though both of these actions were hurtful to her, ultimately contribute to her own contentment and that of others.[21] In this way, Poovey contends that Austen suggests that the submission to society that Elinor demonstrates is the proper way to achieve happiness in life.

Sense and Sensibility criticism also includes ecocritical approaches. Susan Rowland's article "The 'Real Work': Ecocritical Alchemy and Jane Austen's Sense and Sensibility" studies the effects of alienation upon Edward Ferrars. Edward is alienated from society because he lacks what Rowland calls "useful employment."[22] According to Rowland, Edward's condition represents problems with the history of work in Western industrialised societies. Edward's alienation from work also represents "the culture evolution of work" as a "progressive estrangement from nonhuman nature."[22] Rowland argues that human culture estranges people from nature rather than returning them to it. Marianne also suffers from this estrangement of nature as she is ripped from her childhood home where she enjoyed walking the grounds and looking at trees.[22] Rowland thus connects both Edward's and Marianne's progressive discomfort throughout the novel to their alienation from nature.

Publication history

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The three volumes of the first edition of Sense and Sensibility, 1811

In 1811, Thomas Egerton of the Military Library publishing house in London accepted the manuscript for publication in three volumes. Austen paid to have the book published and paid the publisher a commission on sales. The cost of publication was more than a third of Austen's annual household income of £460 (about £15,000 in 2008 currency).[23] She made a profit of £140 (almost £5,000 in 2008 currency)[23] on the first edition, which sold all 750 printed copies by July 1813. A second edition was advertised in October 1813. The novel has been in continuous publication through to the 21st century as popular and critical appreciation of all the novels by Jane Austen slowly grew.

The novel was translated into French by Madame Isabelle de Montolieu as Raison et Sensibilité.[24] Montolieu had only the most basic knowledge of English, and her translations were more "imitations" of Austen's novels as Montolieu had her assistants provide a summary of Austen's novels, which she then translated into an embellished French that often radically altered Austen's plots and characters.[24] The "translation" of Sense and Sensibility by Montolieu changes entire scenes and characters, for example having Marianne call Willoughby an "angel" and an "Adonis" upon first meeting him, lines that are not in the English original.[25] Likewise, the scene where Mrs Dashwood criticises her husband for planning to subsidise his widowed stepmother because it might be disadvantageous to "our little Harry", Mrs Dashwood soon forgets about Harry and it is made apparent her objections are founded in greed; Montolieu altered the scene by having Mrs Dashwood continuing to speak of "our little Harry" as the basis of her objections, completely changing her motives.[26] When Elinor learns the Ferrars who married Lucy Steele is Robert, not Edward, Montolieu adds a scene, in which Edward, the Dashwood sisters and their mother all break down in tears while clasping hands, that was not in the original.[27] Austen has the marriage of Robert Ferrars and Lucy Steele end well while Montolieu changes the marriage into a failure.[28]

Adaptations

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Screen

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Radio

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Stage

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Literature

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  • 1996: author Emma Tennant published Elinor and Marianne, a sequel in the form of an epistolary novel (Austen's original format for Sense and Sensibility) recounting the married lives of the Dashwood sisters.[41]
  • 2009: Sense and Sensibility and Sea Monsters is a mashup parody novel by Ben H. Winters, with Jane Austen credited as co-author.[42]
  • In 2013, author Joanna Trollope published Sense & Sensibility: A Novel[43] as a part of series called The Austen Project by the publisher, bringing the characters into the present day and providing modern satire.[44]
  • 2016: Manga Classics: Sense and Sensibility published by UDON Entertainment's Manga Classics imprint was published in August 2016.[45]

References

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  1. ^ "This day was published, in three vols. 12mo. price 15s. in boards, Sense and Sensibility, a Novel; By Lady A— Published by Thos. Egerton, Whitehall; and may be had of every bookseller in the United Kingdom". Pilot (London). 30 October 1811. p. 1 – via British Newspaper Archive.
  2. ^ Le Faye, Deirdre (2002). Jane Austen: The World of Her Novels. London: Frances Lincoln Publishers. p. 155. ISBN 0-7112-1677-0.
  3. ^ Looser, Devoney (2017). The Making of Jane Austen. Baltimore, MD: Johns Hopkins University Press. p. 19. ISBN 978-1421422824.
  4. ^ Looser, Devoney (2017). The Making of Jane Austen. Baltimore, MD: Johns Hopkins University Press. pp. 106–7, 219–20. ISBN 978-1421422824.
  5. ^ Le Faye, Deirdre (2002). Jane Austen: The World of Her Novels. London: Frances Lincoln Publishers. p. 154. ISBN 0-7112-1677-0.
  6. ^ Looser, Devoney (2015). Introduction. A Gossip's Story. By West, Jane. Looser, Devoney; O'Connor, Melinda; Kelly, Caitlin (eds.). Richmond, Virginia: Valancourt Books. ISBN 978-1943910151.
  7. ^ Walker, Linda Robinson (2013). "Jane Austen, the Second Anglo-Mysore War, and Colonel Brandon's Forcible Circumcision: A Rereading of Sense and Sensibility". Persuasions On-Line. 34 (1). Jane Austen Society of North America. Retrieved 6 June 2020.
  8. ^ Bloom, Harold (2009). Bloom's Modern Critical Reviews: Jane Austen. New York: Infobase Publishing. p. 252. ISBN 978-1-60413-397-4.
  9. ^ a b c d e f Anonymous (2002). "Early Views". Sense and Sensibility: Authoritative Text, Contexts, Criticism. New York: Norton. pp. 313–324.
  10. ^ a b c d Pollock, W.F. (2002). ""British Novelists"". In Johnson, Claudia (ed.). Sense and Sensibility: Authoritative Text, Contexts, Criticism. New York: Norton. pp. 313–324. ISBN 9780393977516.
  11. ^ a b Anonymous (2002). ""Miss Austen"". Sense and Sensibility: Authoritative Text, Contexts, Criticism. New York: Norton. p. 318.
  12. ^ a b Meynell, Alice (2002). ""The Classic Novelist"". Sense and Sensibility: Authoritative Text, Contexts, Criticism. New York: Norton. pp. 320–321.
  13. ^ Tomalin, Claire (1997). Jane Austen: A Life. New York: Random House. p. 155. ISBN 0-679-44628-1.
  14. ^ Tomalin, Claire (1997). Jane Austen: A Life. New York: Random House. pp. 156–157. ISBN 0-679-44628-1.
  15. ^ a b c Brownstein, Rachel "Northanger Abbey, Sense and Sensibility, Pride and Prejudice" pages 32–57 from The Cambridge Companion to Jane Austen, Cambridge: Cambridge University Press, 1997 page 43.
  16. ^ a b c d e f g h i j Favret, Mary (1993). Romantic Correspondence: Women, Politics, and the Fiction of Letters. Cambridge University Press. pp. 145–153.
  17. ^ a b c d Ruoff, Gene (1992). Jane Austen's Sense and Sensibility. Harvester Wheatshaff.
  18. ^ a b Galperin, William H. (2003). The History Austen. University of Pennsylvania Press.
  19. ^ a b c Gilbert, Sandra M.; Gubar, Susan (1979). The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. Yale University Press. pp. 120–172.
  20. ^ a b c d e f Johnson, Claudia (1988). ""Sense and Sensibility: Opinions Too Common and Too Dangerous"". Jane Austen: Women, Politics, and the Novel. University of Chicago Press. pp. 49–72.
  21. ^ a b c d Poovey, Mary (1984). The Proper Lady and the Woman Writer: Ideology as Style in the Works of Mary Wollstonecraft, Mary Shelley and Jane Austen. University of Chicago Press. ISBN 9780226675282.
  22. ^ a b c Rowland, Susan (2013). "The 'Real Work': Ecocritical Alchemy and Jane Austen's Sense an Sensibility". Interdisciplinary Studies in Literature and Environment. 20 (2): 318–322. doi:10.1093/isle/ist021.
  23. ^ a b Sanborn, Vic (10 February 2008). "Pride and Prejudice Economics: Or Why a Single Man with a Fortune of £4,000 Per Year is a Desirable Husband". Jane Austen's World. Retrieved 27 August 2016.
  24. ^ a b King, Noel "Jane Austen in France" from Nineteenth-Century Fiction pages 1–28, Vol. 8, No. 1, June 1953 page 5.
  25. ^ King, Noel "Jane Austen in France" from Nineteenth-Century Fiction pages 1–28, Vol. 8, No. 1, June 1953 page 9.
  26. ^ King, Noel "Jane Austen in France" from Nineteenth-Century Fiction pages 1–28, Vol. 8, No. 1, June 1953 pages 9–10.
  27. ^ King, Noel "Jane Austen in France" from Nineteenth-Century Fiction pages 1–28, Vol. 8, No. 1, June 1953 page 16.
  28. ^ King, Noel "Jane Austen in France" from Nineteenth-Century Fiction pages 1–28, Vol. 8, No. 1, June 1953 page 18.
  29. ^ Pucci, Suzanne R.; Thompson, James (2003). Jane Austen and Co.: Remaking the Past in Contemporary Culture. Albany, NY: State University of New York Press. p. 263. ISBN 9781417519323.
  30. ^ Pucci, Suzanne R. (2003). Jane Austen and Co.: Remaking the Past in Contemporary Culture. Albany, NY: State University of New York Press. p. 263. ISBN 9780791456156.
  31. ^ Parrill, Sue (2002). Jane Austen on Film and Television: A Critical Study of the Adaptations. Jefferson, North Carolina: McFarland & Company. pp. 191. ISBN 978-0786413492.
  32. ^ Literary Intermediality: The Transit of Literature Through the Media Circuit. Peter Lang. 2007. p. 76. ISBN 9783039112234.
  33. ^ "Why Ekta Kapoor tore off Kumkum Bhagya's script 5 times?". The Times of India. 3 June 2015. Archived from the original on 4 June 2021. Retrieved 12 August 2024.
  34. ^ "Siri Siri Muvvalu to go off-air soon; actress Marina Abraham shares a thanks note". The Times of India. Retrieved 12 August 2024.
  35. ^ "Kannada daily show Bayasade Bali Bande goes off-air". The Times of India. Retrieved 12 August 2024.
  36. ^ Easton, Anne. "New Adaptation of Jane Austen Classic 'Sense And Sensibility' Illuminates Black History of the Era". Forbes. Retrieved 25 February 2024.
  37. ^ "BBC Radio 4 – Jane Austen – Sense and Sensibility".
  38. ^ Kennedy, Lisa (18 April 2020). ""Sense & Sensibility The Musical" and director Marcia Milgrom Dodge headed to Denver for 2013 world opening of Jane Austen-based play". The Denver Post. Retrieved 6 February 2020.
  39. ^ Member, Brad (1 August 2016). "'Sense and Sensibility': The Dashwoods come to PCPA". Santa Maria Times. Retrieved 4 February 2019.
  40. ^ Brantley, Ben (5 February 2016). "Review: A Whirlwind of Delicious Gossip in 'Sense & Sensibility'". The New York Times. Retrieved 14 April 2016.
  41. ^ Gómez-Galisteo, M. Carmen. A Successful Novel Must Be in Want of a Sequel: Second Takes on Classics from The Scarlet Letter to Rebecca. Jefferson, NC y Londres: McFarland, 2018. 978-1476672823
  42. ^ Barrows, Jen (Fall 2010). "The Jane Austen Industry and LONG TAIL MARKETING". Yale Economic Review. 6: 36–38 – via ProQuest.
  43. ^ Trollope, Joanna (2013). Sense & Sensibility: A Novel. HarperCollins. ISBN 978-0007461769.
  44. ^ Craig, Amanda (18 October 2013). "Book review: Sense & Sensibility, By Joanna Trollope". The Independent. London. Retrieved 15 September 2016.
  45. ^ Manga Classics: Sense and Sensibility (2016) UDON Entertainment ISBN 978-1927925638
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