Sense and Sensibility
by Jane Austen
8.23 / 10 239 ratings
- Language
- English
- Published
- 2026
- Publisher
- Canterbury Classics
- Pages
- 304
- ISBN
- 9781667212173
When the sudden death of their father leaves the Dashwood sisters and their mother in drastically reduced circumstances, they are forced to leave their beloved home. Relocating to a modest cottage in Devonshire, Elinor and Marianne Dashwood must navigate a society where a woman's future often hinges on a suitable marriage and financial security is paramount.
Elinor, the elder sister, embodies prudence and restraint, facing her personal trials with quiet dignity and logic. In contrast, Marianne lives by her intense emotions and romantic ideals, expressing every joy and sorrow without reserve. As they encounter new acquaintances and romantic entanglements, their distinct approaches to love and life are tested. This narrative explores the tension between sense and sensibility, the societal expectations of 19th-century England, and the challenging path to finding happiness and understanding oneself amidst adversity.
Elinor, the elder sister, embodies prudence and restraint, facing her personal trials with quiet dignity and logic. In contrast, Marianne lives by her intense emotions and romantic ideals, expressing every joy and sorrow without reserve. As they encounter new acquaintances and romantic entanglements, their distinct approaches to love and life are tested. This narrative explores the tension between sense and sensibility, the societal expectations of 19th-century England, and the challenging path to finding happiness and understanding oneself amidst adversity.
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Original edition
Sense and Sensibility (Amsco Literature Series Ss-S)Originally published in 1970 English Amsco School Pubns Inc
Other editions (3830)
Listen to the summary Narrated summary
The tranquility of Norland Park was irrevocably shattered upon the death of its owner, Henry Dashwood, leaving his second wife and three daughters, Elinor, Marianne, and Margaret, in a precarious financial state. Though Henry had extracted a promise from his son, John Dashwood, to care for his stepmother and half-sisters, John's avaricious wife, Fanny, swiftly convinced him to renege on this pledge, reducing their expected inheritance to a mere pittance. Thus, the Dashwood ladies, accustomed to comfort, found themselves facing genteel poverty and the necessity of finding a new home.
Before their departure from Norland, however, a quiet attachment began to blossom between the eldest sister, Elinor, and Fanny's brother, Edward Ferrars. Elinor, composed and sensible, found herself drawn to Edward's gentle disposition, yet a certain melancholy hung about him, and Fanny's pointed remarks about her brother's prospects hinted at obstacles. Soon, the Dashwoods accepted an offer from a distant cousin, Sir John Middleton, to reside in Barton Cottage, a modest dwelling on his Devonshire estate.
The change of scenery brought new acquaintances, most notably the amiable but vulgar Mrs. Jennings, and the kind, reserved Colonel Brandon, who, despite his thirty-five years, was immediately captivated by the sixteen-year-old Marianne. But it was the dashing, impetuous John Willoughby who truly swept Marianne off her feet. Their shared love for poetry, music, and unrestrained emotion seemed to bind them instantly, and Marianne, a creature of ardent sensibility, gave her heart without reservation, heedless of Elinor's quiet warnings about propriety and discretion. Their whirlwind romance, however, ended abruptly and inexplicably when Willoughby departed for London, leaving Marianne heartbroken and bewildered.
Meanwhile, Elinor continued to bear her own silent anguish. She learned that Edward Ferrars was secretly, and long, engaged to a rather common and manipulative woman named Lucy Steele. Elinor, ever the embodiment of sense, suppressed her feelings, enduring the constant presence of Lucy and her sister Anne, who delighted in tormenting Elinor with veiled references to the secret engagement. She watched Marianne openly grieve for Willoughby, wishing her sister possessed a fraction of her own self-command.
A journey to London with Mrs. Jennings brought further trials. Marianne, still clinging to hope, sought out Willoughby, only to be cruelly snubbed and later receive a cold, formal letter announcing his engagement to a wealthy heiress, Miss Grey. The blow shattered Marianne's youthful romantic ideals, plunging her into a deep despair that eventually led to a severe illness. During her recovery, Willoughby unexpectedly appeared, not to reconcile with Marianne, but to explain his actions to Elinor, revealing his financial desperation as the motive behind his mercenary marriage.
As Marianne slowly healed, both physically and emotionally, she began to reflect on her past impetuosity and the wisdom of Elinor's restraint. A revelation came to light regarding Edward Ferrars: his engagement to Lucy Steele was broken when his mother, upon discovering the secret, disinherited him. Lucy, in turn, jilted Edward for his now-wealthy younger brother, Robert Ferrars.
Finally freed from his entanglement, Edward, having been offered a modest living by Colonel Brandon, arrived at Barton Cottage to declare his love for Elinor. Their quiet, enduring affection was at last rewarded with marriage. Marianne, chastened by her experiences and having learned the value of steady affection over passionate infatuation, gradually grew fond of Colonel Brandon, whose steadfast devotion had never wavered. She married him, finding contentment and a harmonious life at Delaford, close to her beloved sister. Both sisters, having navigated the turbulent waters of love and societal expectation, found happiness, balancing sense with a matured sensibility.
Before their departure from Norland, however, a quiet attachment began to blossom between the eldest sister, Elinor, and Fanny's brother, Edward Ferrars. Elinor, composed and sensible, found herself drawn to Edward's gentle disposition, yet a certain melancholy hung about him, and Fanny's pointed remarks about her brother's prospects hinted at obstacles. Soon, the Dashwoods accepted an offer from a distant cousin, Sir John Middleton, to reside in Barton Cottage, a modest dwelling on his Devonshire estate.
The change of scenery brought new acquaintances, most notably the amiable but vulgar Mrs. Jennings, and the kind, reserved Colonel Brandon, who, despite his thirty-five years, was immediately captivated by the sixteen-year-old Marianne. But it was the dashing, impetuous John Willoughby who truly swept Marianne off her feet. Their shared love for poetry, music, and unrestrained emotion seemed to bind them instantly, and Marianne, a creature of ardent sensibility, gave her heart without reservation, heedless of Elinor's quiet warnings about propriety and discretion. Their whirlwind romance, however, ended abruptly and inexplicably when Willoughby departed for London, leaving Marianne heartbroken and bewildered.
Meanwhile, Elinor continued to bear her own silent anguish. She learned that Edward Ferrars was secretly, and long, engaged to a rather common and manipulative woman named Lucy Steele. Elinor, ever the embodiment of sense, suppressed her feelings, enduring the constant presence of Lucy and her sister Anne, who delighted in tormenting Elinor with veiled references to the secret engagement. She watched Marianne openly grieve for Willoughby, wishing her sister possessed a fraction of her own self-command.
A journey to London with Mrs. Jennings brought further trials. Marianne, still clinging to hope, sought out Willoughby, only to be cruelly snubbed and later receive a cold, formal letter announcing his engagement to a wealthy heiress, Miss Grey. The blow shattered Marianne's youthful romantic ideals, plunging her into a deep despair that eventually led to a severe illness. During her recovery, Willoughby unexpectedly appeared, not to reconcile with Marianne, but to explain his actions to Elinor, revealing his financial desperation as the motive behind his mercenary marriage.
As Marianne slowly healed, both physically and emotionally, she began to reflect on her past impetuosity and the wisdom of Elinor's restraint. A revelation came to light regarding Edward Ferrars: his engagement to Lucy Steele was broken when his mother, upon discovering the secret, disinherited him. Lucy, in turn, jilted Edward for his now-wealthy younger brother, Robert Ferrars.
Finally freed from his entanglement, Edward, having been offered a modest living by Colonel Brandon, arrived at Barton Cottage to declare his love for Elinor. Their quiet, enduring affection was at last rewarded with marriage. Marianne, chastened by her experiences and having learned the value of steady affection over passionate infatuation, gradually grew fond of Colonel Brandon, whose steadfast devotion had never wavered. She married him, finding contentment and a harmonious life at Delaford, close to her beloved sister. Both sisters, having navigated the turbulent waters of love and societal expectation, found happiness, balancing sense with a matured sensibility.
What other readers say
Liked
This book is widely praised as an excellent and accessible adaptation, particularly for introducing younger readers to the works of Jane Austen. Many reviewers, including an 8-year-old fan, loved it as a wonderful entry point to classic literature. The adaptation is commended for successfully retaining the original spirit, mood, and tone of Austen's writing without being overly modernized or complex. Readers appreciate the inclusion of fun black and white illustrations, which are noted to be helpful for early readers. Adults also found it a quick and enjoyable read, serving as a good summary and even a useful tool for English language learners.
Disliked
However, some reviewers expressed reservations, primarily concerning the book's target audience and narrative pacing. While marketed for children, several readers questioned if very young children would fully comprehend the story, suggesting it might be more suitable for slightly older readers, around 10 years old and up, due to its central focus on romantic relationships and emotions. Additionally, a few readers found the plot to be somewhat dull, feeling that "nothing happens," and struggled with the sheer number of characters, which led to confusion and difficulty tracking who was who, especially in the latter parts of the book.
In short
In conclusion, this adaptation generally achieves its aim of providing a simplified, engaging introduction to a classic Jane Austen story. It is best suited for pre-teen and early teen readers, or adults seeking a quick and light summary, who are interested in the original's themes and characters but prefer an abridged format. While it serves as a charming gateway to classic literature, potential readers should be mindful of the points raised about character complexity and the story's emphasis on relationships, ensuring it aligns with the reader's age and preferences.
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