Download PDF by Jane Austen: Emma (Penguin Clásicos)

By Jane Austen

Los mejores libros jamás escritos.

«Jane Austen es una maestra en dibujar emociones más profundas que las
que aparecen superficialmente. Nos estimula a añadir lo que no está.»
Virginia Woolf

Emma cuenta los angeles historia de una inteligente y laboriosa joven empeñada en hacer de celestina de todas sus amistades. Cuando su institutriz, amiga y confidente make a decision contraer matrimonio, Emma Woodhouse se descubrirá sola, frente al vacío de su vida y con l. a. penosa tarea de intentar que los demás lleven una vida tan perfecta como l. a. suya. Pero todos sus esfuerzos de manipulación sentimental tan solo consiguen crear a su alrededor una telaraña de enredos, malentendidos y confusiones que pone a prueba su confianza en sí misma.

Completan esta edición una cronología detallada de los angeles autora y una introducción de Fiona Stafford, catedrática de lengua y literatura lnglesa en l. a. Universidad de Oxford, cuyos trabajos resultan de obligada consulta para comprender el universo literario de Jane Austen y en specific de este título, Emma, que junto a Sentido y sensibilidad y Orgullo y prejuicio se encuentran entre los más conocidos de esta autora epítome de los angeles novela victoriana inglesa por excelencia.

«La mitad del mundo no puede entender los placeres de l. a. otra mitad.»

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Additional resources for Emma (Penguin Clásicos)

Example text

Throughout its execution, it has had complete possession of me; I have so far verified what is done and suffered in these pages, as that I have certainly done and suffered it all myself. Whenever any reference (however slight) is made here to the condition of the French people before or during the Revolution, it is truly made, on the faith of trustworthy witnesses. It has been one of my hopes to add something to the popular and picturesque means of understanding that terrible time, though no one can hope to add anything to the philosophy of Mr.

We can appreciate the power of nightmare, whatever its political bias, as Dickens streaks his pages with the revolution’s blood. And we can laugh with him—he cannot help finding the monstrous or wonderful or ludicrous within the everyday—as Jeremiah and Jerry Junior engage in their own grotesque version of resurrection. In fact, I think it likely that a serious hope for resurrection, or spiritual revival, for change, may lie behind the writing of A Tale of Two Cities. I think it possible that, several years earlier, Dickens’ despair about such transformation may have been signaled when he resorted to the false—the acted—heroic self-sacrifice to which he could not resist being attracted: when he makes believe in Wilkie Collins’ play, before an audience including the woman he would have given his life to possess, on a stage in his house, that he dies in order that others might live.

Lorry flattened his flaxen wig upon his head with both hands (which was most unnecessary, for nothing could be flatter than its shining surface was before), and resumed his former attitude. “So far, miss (as you have remarked), this is the story of your regretted father. Now comes the difference. If your father had not died when he did—Don’t be frightened! ” She did, indeed, start. And she caught his wrist with both her hands. “Pray,” said Mr. Lorry, in a soothing tone, bringing his left hand from the back of the chair to lay it on the supplicatory fingers that clasped him in so violent a tremble: “pray control your agitation—a matter of business.

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