爱玛(上海世图) 目录

爱玛(上海世图) 本书特色

《爱玛》小说*后以有情人终成眷属的大团圆情形而结束。

爱玛(上海世图) 节选

《爱玛》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。

爱玛(上海世图) 相关资料

CHAPTER 1EMMA 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 twentyone years in the worldwith very little to distress or vex her.She was the youngest of the two daughters of a most affectionate,indulgent father; and had, in consequence of her sister's marriage,been mistress of his house from a very early period. Her mother haddied too long ago for her to have more than an indistinct remembranceof her caresses; and her place had been supplied by an excellent womanas governess, who had fallen little short of a mother in affection.Sixteen years had Miss Taylor been in Mr. Woodhouse's family,less as a governess than a friend, very fond of both daughters, but particularly of Emma. Between them it was more the intimacy of sisters.Even before Miss Taylor had ceased to hold the nominal office of governess, the mildness of her temper had hardly allowed her to imposeany restraint; and the shadow of authority being now long passedaway, they had been living together as friend and friend very mutuallyattached, and Emma doing just what she liked; highly esteeming MissTaylor's judgment, but directed chiefly by her own.The real evils, indeed, of Emma's situation were the power ofhaving rather too much her own way, and a disposition to think a littletoo well of herself: these were the disadvantages which threatened alloy to her many enjoyments. The danger, however, was at present sounperceived, that they did not by any means rank as misfortunes withher.Sorrow camea gentle sorrowbut not at all in the shape of anydisagreeable consciousness. Miss Taylor married. It was Miss Taylor' sloss which first brought grief. It was on the wedding day of this belovedfriend that Emma first sat in mournful thought of any continuance. Thewedding over, and the bride people gone, her father and herself wereleft to dine together, with no prospect of a third to cheer a

爱玛(上海世图) 作者简介

简·奥斯汀（1775年12月16日～1817年7月18日）英国女小说家。生于乡村小镇斯蒂文顿，父亲是当地教区牧师。奥斯汀没有上过正规学校，但受到较好的家庭教育，主要教材就是父亲的文学藏书。奥斯汀一家爱读流行小说，多半是庸俗的消遣品。她少女时期的习作就是对这类流行小说的滑稽模仿，这样就形成了她作品中嘲讽的基调。她20岁左右开始写作，共发表了6部长篇小说。1811年出版的《理智与情感》是她的处女作，随后又接连发表了《傲慢与偏见》（1813）、《曼斯菲尔德花园》（1814）和《爱玛》（1815）。《诺桑觉寺》（又名《诺桑觉修道院》）和《劝导》（1818）是在她去世后第二年发表的，并署上了作者真名。
奥斯汀终身未婚，家道小康。由于居住在乡村小镇，接触到的是中小地主、牧师等人物以及他们恬静、舒适的生活环境，因此她的作品里没有重大的社会矛盾。她以女性特有的细致入微的观察力，真实地描绘了她周围世界的小天地，尤其是绅士淑女间的婚姻和爱情风波。她的作品格调轻松诙谐，富有喜剧性冲突，深受读者欢迎。
从18世纪末到19世纪初，庸俗无聊的“感伤小说”和“哥特式小说”充斥英国文坛，而奥斯汀的小说破旧立新，一反常规地展现了当时尚未受到资本主义工业革命冲击的英国乡村中产阶级的日常生活和田园风光。她的作品往往通过喜剧性的场面嘲讽人们的愚蠢、自私、势利和盲目自信等可鄙可笑的弱点。奥斯汀的小说出现在19世纪初叶，一扫风行一时的假浪漫主义潮流，继承和发展了英国18世纪优秀的现实主义传统，为19世纪现实主义小说的高潮做了准备。虽然其作品反映的广度和深度有限，但她的作品如“两寸牙雕”，从一个小窗口中窥视到整个社会形态和人情世故，对改变当时小说创作中的庸俗风气起了好的作用，在英国小说的发展史上有承上启下的意义，被誉为地位“可与莎士比亚平起平坐”的作家。