Mansfield Park 曼斯菲尔德庄园 Barnes & Noble Classics ISBN 9781593083564pdf/txt下载_在线阅读全文

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　　Mansfield Park, by Jane Austen, is part of the Barnes Noble Classics series, which offers quality editions at affordableprices to the student and the general reader, including newscholarship, thoughtful design, and pages of carefully craftedextras. Here are some of the remarkable features of Barnes Noble Classics:
　　New introductions commissioned from today's top writers andscholars Biographies of the authors Chronologies of contemporaryhistorical, biographical, and cultural events Footnotes andendnotes Selective discussions of imitations, parodies, poems,books, plays, paintings, operas, statuary, and films inspired bythe work Comments by other famous authors Study questions tochallenge the reader's viewpoints and expectations Bibliographiesfor further reading Indices Glossaries, when appropriateAlleditions are beautifully designed and are printed to superiorspecifications; some include illustrations of historical interest.Barnes Noble Classics pulls together a constellation ofinfluences—biographical, historical, and literary—to enrich eachreader's understanding of these enduring works.

Mansfield Park, by Jane Austen, is part of the Barnes &
Noble Classics series, which offers quality editions at affordable
prices to the student and the general reader, including new
scholarship, thoughtful design, and pages of carefully crafted
extras. Here are some of the remarkable features of Barnes &
Noble Classics: 
　　New introductions commissioned from today's top writers and
scholars Biographies of the authors Chronologies of contemporary
historical, biographical, and cultural events Footnotes and
endnotes Selective discussions of imitations, parodies, poems,
books, plays, paintings, operas, statuary, and films inspired by
the work Comments by other famous authors Study questions to
challenge the reader's viewpoints and expectations Bibliographies
for further reading Indices & Glossaries, when appropriateAll
editions are beautifully designed and are printed to superior
specifications; some include illustrations of historical interest.
Barnes & Noble Classics pulls together a constellation of
influences—biographical, historical, and literary—to enrich each
reader's understanding of these enduring works. 
　　From its sharply satiric opening sentence, Mansfield Park dealas
with money and marriage, and how strongly they affect each other.
Shy, fragile Fanny Price is the consummate "poor relation." Sent to
live with her wealthy uncle Thomas, she clashes with his spoiled,
selfish daughters and falls in love with his son. Their lives are
further complicated by the arrival of a pair of witty,
sophisticated Londoners, whose flair for flirtation collides with
the quiet, conservative country ways of Mansfield Park. 
　　Written several years after the early manu*s that eventually
became Sense and Sensibility and Pride and Prejudice, Mansfield
Park retains Austen’s familiar compassion and humor but offers a
far more complex exploration of moral choices and their emotional
consequences. 
　　Amanda Claybaugh is Assistant Professor of English and
Comparative Literature at Columbia University. She also wrote the
Introduction and Notes for the Barnes & Noble Classics edition
of Uncle Tom’s Cabin.

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目　　录

THE WORLD OF .JANE AUSTEN AND MANSFIELD PaRK
INTRODUCTION BY AMANDA CLAYBAUGH
MANSFIELD PARK
ENDNOTES
INSPIRED BY MANSFIELD PARK
COMMENTS & QUESTIONS
FOR FURTHER READING

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From Amanda Claybaugh's Introduction toMansfield Park
　　Mary Crawford is, or so it seems, the very model of a Jane Austenheroine. Spirited, warm-hearted, and, above all else, witty, shedisplays all the familiar Austen virtues, and she stands in need ofthe familiar Austen lessons as well. Like Elizabeth Bennet, theheroine of Pride and Prejudice (1813), she banters archly with theman she is falling in love with, and, like Elizabeth, she mustlearn to set aside her preconceptions in order to recognize thatlove. Like Emma Woodhouse, the heroine of Emma (1816), she speaksmore brilliantly and speculates more dazzlingly than anyone aroundher, and, like Emma, she must learn to rein in the wit that temptsher at times to impropriety. But Mary Crawford is not the heroineof Mansfield Park (1814)—Fanny Price is, and therein lies thenovel's great surprise. For Fanny differs not merely from Mary, butalso from our most basic expectations of what a novel's protagonistshould do and be. In Fanny, we have a heroine who seldom moves andseldom speaks, and never errs or alters.
　　"'I must move,'" Mary announces, "'resting fatigues me'." Beforeher arrival at Mansfield, she had made a glamorous circuit ofwinters in London and summers at the country houses of friends,with stops at fashionable watering places in between, and atMansfield she is no less mobile. A vigorous walker, she soon takesup riding, cantering as soon as she mounts. Fanny, by contrast, hashardly left the grounds of Mansfield since her arrival eight yearsbefore, and she is further immobilized by her weakness andtimidity. A half-mile walk is beyond her, a ball, she fears, willexhaust her, and she is prostrated by headache after picking roses.She must be lifted onto the horse she was long too terrified toapproach, and her exercise consists of being led by a groom.
　　"'Now, do not be suspecting me of a pun, I entreat,'" says Maryto her listeners, who have not, in fact, caught the joke at all. Sodazzling a talker is Mary that she must serve as her own bestaudience, amusing herself with witticisms the others cannot hear.With a keener eye and a sharper tongue than those around her, Marysets her words dancing alongside the inanities, vulgarities, andhypocrisies that make up the other characters' speech. Fanny, bycontrast, barely speaks at all, and when she does, it is in thesilencing language of moral certainty. "'Very indecorous,'" Edmundsays of Mary's far more captivating discourse, and Fanny is quickto agree and contribute a judgment of her own: "'and veryungrateful.'" There is little that can be said after that.

From Amanda Claybaugh's Introduction to
Mansfield Park 
　　Mary Crawford is, or so it seems, the very model of a Jane Austen
heroine. Spirited, warm-hearted, and, above all else, witty, she
displays all the familiar Austen virtues, and she stands in need of
the familiar Austen lessons as well. Like Elizabeth Bennet, the
heroine of Pride and Prejudice (1813), she banters archly with the
man she is falling in love with, and, like Elizabeth, she must
learn to set aside her preconceptions in order to recognize that
love. Like Emma Woodhouse, the heroine of Emma (1816), she speaks
more brilliantly and speculates more dazzlingly than anyone around
her, and, like Emma, she must learn to rein in the wit that tempts
her at times to impropriety. But Mary Crawford is not the heroine
of Mansfield Park (1814)—Fanny Price is, and therein lies the
novel's great surprise. For Fanny differs not merely from Mary, but
also from our most basic expectations of what a novel's protagonist
should do and be. In Fanny, we have a heroine who seldom moves and
seldom speaks, and never errs or alters. 
　　"'I must move,'" Mary announces, "'resting fatigues me'." Before
her arrival at Mansfield, she had made a glamorous circuit of
winters in London and summers at the country houses of friends,
with stops at fashionable watering places in between, and at
Mansfield she is no less mobile. A vigorous walker, she soon takes
up riding, cantering as soon as she mounts. Fanny, by contrast, has
hardly left the grounds of Mansfield since her arrival eight years
before, and she is further immobilized by her weakness and
timidity. A half-mile walk is beyond her, a ball, she fears, will
exhaust her, and she is prostrated by headache after picking roses.
She must be lifted onto the horse she was long too terrified to
approach, and her exercise consists of being led by a groom. 
　　"'Now, do not be suspecting me of a pun, I entreat,'" says Mary
to her listeners, who have not, in fact, caught the joke at all. So
dazzling a talker is Mary that she must serve as her own best
audience, amusing herself with witticisms the others cannot hear.
With a keener eye and a sharper tongue than those around her, Mary
sets her words dancing alongside the inanities, vulgarities, and
hypocrisies that make up the other characters' speech. Fanny, by
contrast, barely speaks at all, and when she does, it is in the
silencing language of moral certainty. "'Very indecorous,'" Edmund
says of Mary's far more captivating discourse, and Fanny is quick
to agree and contribute a judgment of her own: "'and very
ungrateful.'" There is little that can be said after that. 
　　"'I will stake my last like a woman of spirit,'" Mary proclaims
in the midst of a card game that Fanny had been reluctant to play
at all. Mary wins the hand, only to find that it has cost her more
than it was worth, and, in doing so, she reminds us that to act is
necessarily to risk being wrong. Fanny, by contrast, is always
right. "'Fanny is the only one who has judged rightly
throughout'"—this is Edmund Bertram speaking to Sir Thomas in the
aftermath of the theatricals, but it could just as properly be the
narrator at the novel's end. The language of Fanny's right judgment
suggests, however, that her moral certainty is a function of her
passivity: "'No, indeed, I cannot act,'" she had insisted, and the
double meaning of "acting" suggests that Fanny knows not to "act"
in a theatrical sense because she never really "acts" at all. 
　　It is in the contrast between Fanny and Mary that we can most
clearly see that Mansfield Park is, in the words of the critic Tony
Tanner, "a novel about rest and restlessness, stability and
change-the moving and the immovable" (Jane Austen, p. 145; see "For
Further Reading"). Mansfield Park is hardly the only Austen novel
to take as its subject matter a pair of opposed terms, but
typically these terms stand in a dynamic relation to one another,
each altering the other until a proper synthesis or balance is
achieved. In Sense and Sensibility (1811), for instance, the
rational Elinor Dashwood and her romantic sister Marianne must each
learn from the other to moderate her mode of feeling; similarly,
Mr. Darcy must modify his pride and Elizabeth, her prejudice before
marriage can unite them. Other of Austen's novels draw careful
distinctions within a single term, as when Persuasion (1818)
establishes a continuum from the most laudable to the most
lamentable instances of conforming to the wishes of others.
Mansfield Park stands alone in this regard, for it unequivocally
endorses one set of terms and unequivocally condemns the other.
Rest has, in this novel, nothing to learn from restlessness, and
restlessness can in no way be redeemed.

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