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Sense and Sensibility
With a foreword by Hannah Grace, author of Icebreaker and Wildfire
Left destitute after their father’s death, Elinor and Marianne Dashwood must navigate love, marriage and societal expectations to ensure their security and happiness. But romance isn’t easy, and soon Elinor finds her good sense tested by her charming brother-in-law, while Marianne’s romantic sensibility brings her nothing but heartbreak.
To find happiness, both sisters will have to learn to balance sense and sensibility.
Fall head over heels for First Impressions, Penguin's boldly designed new Jane Austen collection for young-adult readers featuring the complete and unabridged texts. Full of meet-cutes, missed connections and drama, this eye-catching six-book series is an open invitation to embrace your inner romantic
Left destitute after their father’s death, Elinor and Marianne Dashwood must navigate love, marriage and societal expectations to ensure their security and happiness. But romance isn’t easy, and soon Elinor finds her good sense tested by her charming brother-in-law, while Marianne’s romantic sensibility brings her nothing but heartbreak.
To find happiness, both sisters will have to learn to balance sense and sensibility.
Fall head over heels for First Impressions, Penguin's boldly designed new Jane Austen collection for young-adult readers featuring the complete and unabridged texts. Full of meet-cutes, missed connections and drama, this eye-catching six-book series is an open invitation to embrace your inner romantic
448 pages, Hardcover
Published August 4, 2026
About the author
Jane Austen
4,643 books78.4k followersJane Austen was an English novelist known primarily for her six novels, which implicitly interpret, critique, and comment upon the English landed gentry at the end of the 18th century. Austen's plots often explore the dependence of women on marriage for the pursuit of favourable social standing and economic security. Her works are an implicit critique of the novels of sensibility of the second half of the 18th century and are part of the transition to 19th-century literary realism. Her deft use of social commentary, realism and biting irony have earned her acclaim among critics and scholars.
The anonymously published Sense and Sensibility (1811), Pride and Prejudice (1813), Mansfield Park (1814), and Emma (1816), were a modest success but brought her little fame in her lifetime. She wrote two other novels—Northanger Abbey and Persuasion, both published posthumously in 1817—and began another, eventually titled Sanditon, but died before its completion. She also left behind three volumes of juvenile writings in manuscript, the short epistolary novel Lady Susan, and the unfinished novel The Watsons.
Since her death Austen's novels have rarely been out of print. A significant transition in her reputation occurred in 1833, when they were republished in Richard Bentley's Standard Novels series (illustrated by Ferdinand Pickering and sold as a set). They gradually gained wide acclaim and popular readership. In 1869, fifty-two years after her death, her nephew's publication of A Memoir of Jane Austen introduced a compelling version of her writing career and supposedly uneventful life to an eager audience. Her work has inspired a large number of critical essays and has been included in many literary anthologies. Her novels have also inspired many films, including 1940's Pride and Prejudice, 1995's Sense and Sensibility and 2016's Love & Friendship.
The anonymously published Sense and Sensibility (1811), Pride and Prejudice (1813), Mansfield Park (1814), and Emma (1816), were a modest success but brought her little fame in her lifetime. She wrote two other novels—Northanger Abbey and Persuasion, both published posthumously in 1817—and began another, eventually titled Sanditon, but died before its completion. She also left behind three volumes of juvenile writings in manuscript, the short epistolary novel Lady Susan, and the unfinished novel The Watsons.
Since her death Austen's novels have rarely been out of print. A significant transition in her reputation occurred in 1833, when they were republished in Richard Bentley's Standard Novels series (illustrated by Ferdinand Pickering and sold as a set). They gradually gained wide acclaim and popular readership. In 1869, fifty-two years after her death, her nephew's publication of A Memoir of Jane Austen introduced a compelling version of her writing career and supposedly uneventful life to an eager audience. Her work has inspired a large number of critical essays and has been included in many literary anthologies. Her novels have also inspired many films, including 1940's Pride and Prejudice, 1995's Sense and Sensibility and 2016's Love & Friendship.
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Displaying 1 - 16 of 16 reviews
October 28, 2026
This is my fifth time reading this book and now more than ever I am struck by how, despite the world’s tendency to regard Jane Austen’s novels as swoon-worthy romances, what with their iconic grand gestures and professions of love (“He has loved her, my Elinor, ever since the first moment of seeing her.”), they are most of all grounded in real, constant, practical, loyal love. Perhaps, living in a time when the sociopolitics of marriage made finding love an impossible endeavour, the task that Jane Austen saw for herself as a writer was not to create idealistic, fairy tale romances that her reader can dream about but to show that real, ordinary love can possibly exist in an impossible world.
It makes sense that the antidote to marriages formed as economic transactions is not a whirlwind, fevered romance but love that has been steadfastly built on shared values, loyalty, and good sense. One cannot combat a ridiculous but stubbornly institutionalised social custom (marriages as business transactions) with an equally ridiculous but short-lived alternative (impractical, infatuation-fuelled dalliances). And so, in Sense and Sensibility as in Jane Austen’s other books, when the reader is given a happily ever after, it is accompanied with the sensible, practical logistics of the lovers’ life ahead.
It’s no wonder that the men in Sense and Sensibility are, as my friend Chili wisely observed, “not obviously swoonable.” The seemingly perfect men like Willoughby and Wickham do not get the girl. The reader is invited to resist the temptations of infatuation and to instead give the unassuming, seemingly ordinary, unpalatable men like Colonel Brandon and Mr. Darcy a chance. They, after all, turn out to be the men that the heroine can rely on in times of trouble, are capable of giving her a good life, and are unwavering in their devotion. I think Jane Austen does this not to lower the reader’s expectations and standards about love nor to remove its magic, but to show how love can possibly exist in the real world.
As Jane Austen builds the love story, she at the same time astutely critiques a society that has turned marriages and family relationships into economic transactions favouring the patriarchy, and pokes fun at the people who fanatically uphold this society. In Sense and Sensibility, society’s ridiculousness and evils are shown to be so hard at work that when goodness and love (in its various forms: romantic, sisterly, parental, friendship) finally succeed in the end, the reader is just as ecstatic as the lovers. I celebrate with them and marvel at their masterful orchestration of the miracle that is a marriage with love.
When I first read Jane Austen at 17 (an aside: incidentally, my first Jane Austen book was actually Sense and Sensibility, a birthday gift from my brother), I loved it for its love story. I imagined its author a hopeless romantic. Now that I’m much older, I see this book (and Jane Austen’s other books) as a story of humanity’s triumph against a society that tries to dictate what it can and cannot have. Jane Austen, the woman that you are.♥️
It makes sense that the antidote to marriages formed as economic transactions is not a whirlwind, fevered romance but love that has been steadfastly built on shared values, loyalty, and good sense. One cannot combat a ridiculous but stubbornly institutionalised social custom (marriages as business transactions) with an equally ridiculous but short-lived alternative (impractical, infatuation-fuelled dalliances). And so, in Sense and Sensibility as in Jane Austen’s other books, when the reader is given a happily ever after, it is accompanied with the sensible, practical logistics of the lovers’ life ahead.
It’s no wonder that the men in Sense and Sensibility are, as my friend Chili wisely observed, “not obviously swoonable.” The seemingly perfect men like Willoughby and Wickham do not get the girl. The reader is invited to resist the temptations of infatuation and to instead give the unassuming, seemingly ordinary, unpalatable men like Colonel Brandon and Mr. Darcy a chance. They, after all, turn out to be the men that the heroine can rely on in times of trouble, are capable of giving her a good life, and are unwavering in their devotion. I think Jane Austen does this not to lower the reader’s expectations and standards about love nor to remove its magic, but to show how love can possibly exist in the real world.
As Jane Austen builds the love story, she at the same time astutely critiques a society that has turned marriages and family relationships into economic transactions favouring the patriarchy, and pokes fun at the people who fanatically uphold this society. In Sense and Sensibility, society’s ridiculousness and evils are shown to be so hard at work that when goodness and love (in its various forms: romantic, sisterly, parental, friendship) finally succeed in the end, the reader is just as ecstatic as the lovers. I celebrate with them and marvel at their masterful orchestration of the miracle that is a marriage with love.
When I first read Jane Austen at 17 (an aside: incidentally, my first Jane Austen book was actually Sense and Sensibility, a birthday gift from my brother), I loved it for its love story. I imagined its author a hopeless romantic. Now that I’m much older, I see this book (and Jane Austen’s other books) as a story of humanity’s triumph against a society that tries to dictate what it can and cannot have. Jane Austen, the woman that you are.♥️
November 3, 2026
Okuduğum üçüncü Jane Austen romanı ve baya özlemişim. Austen’ın mizahını da çok özlemişim. Bu kadının romanlarını klasik saymayanlar utansın kendinden öncelikle, abla resmen liberal ve radikal feminizmin direkt temsilini yapmış , oturmuş evlilik kurumunu eleştirmiş, dönemin kadınlarına kimsenin cesaret edemediği telkinleri yapmış yani kadıncağız daha napsın. Neyse okuduğum en iyi Austen romanı değildi tabiki ama ben bu kadının genel olarak oluşturduğu karakterleri ve dilini çok zarif buluyorum. Uyarlama filmlerini baştan baştan izlediğimden bence ama romanı okurken arka planda sürekli olarak dönem filmlerinin böyle pastel renk paletleri, nostaljik atmosferi falan canlandı. Bu yüzden çok zevk aldım okurken 🥹🥹. Bir de ben kimim ki buna beş yıldızdan aşağı puan vereyim kadın koskoca klasik yazmış yani. Bir de Elinor sana aşığım ya. Bu dünya üzeridenki en olgun, en sağduyulu, en ağırbaşlı, en dingin en harika ötesi mükemmel karakter falansın. Yani Edward biraz mal ve seni asla hak etmiyor ama ikiniz arasındaki ilişkiye de bayıldım. Marianne, sen tam bir zevzeksin ama olsun en sonunda akıllandığın için seni affediyorum. Ama yani güzel kızım, orada kapı gibi colonel Brandon varken nasıl gidip adını bile asla telaffuz edemediğim o ucube adama aşık olursun ve böyle uzun süre onun yasını tutarsın gerçekten anlamıyorum. YA BİR DE COLONEL HER ŞEYE RAĞMEN SANA AŞIK OLMAYA DEVAM EDİYOR. VE DADDY ZATEN KENDİNE GEL KIZIM. bir de ben slow burn insanıymışım ya. Hakikaten ben ıncıkmak istiyorum bunu fark ettim. Böyle ıncık ıncık ıncıkayım 400 sayfa, en son da maksimum el tutuşun ve bitsin orada. Budur yani. Neyse özetle bu romanı da beğendik arkadaşlar okuyun. ☺️☺️
June 17, 2026
Thank you, Sarah, for sharing this book with me 😍I relish the witty conversations and the jam-packed plot of Pride & Prejudice, and I soak up the romance of Persuasion. I found it difficult to enjoy Sense & Sensibilty as much, as it has little of either. I’m glad I read it, but it won’t be a book I return to. I’m looking forward to seeing the new film adaptation though.
November 2, 2026
What a romance. It is my second Jane Austen’s book and I very happy to be reconnected with her own style of writing, this time in her own voice : in English. I started this book after discovering the story through the last 2026 movie adaptation. I genuinely think that it’s a beautiful story with two opposite female characters in which so much of ourselves can be recognizable. I love her depiction of love and relationships that are so much related to class society and apparences as this period is known for. But what is more striking is as relatable this experiences can be with modern relationships storys. I recognized myself in both Elinor and Marianne and loved both very much.
August 30, 2026
Poor queens kept getting friend zoned
November 8, 2026
The Norland estate was legally inherited by Mr. Henry Dashwood. He wanted it not for himself but for his present wife and their three daughters. He had a son from his previous marriage, John Dashwood, whose mother also had a fortune. I think Henry was fair in wanting to leave as much of his fortune as he could to his daughters, as they needed more financial provision. However, since he had also inherited the estate from his uncle, it was tied up by the terms of his uncle’s will and was supposed to pass to his son, John, and eventually to John’s son. So, before he died, Henry talked to John about providing for his sisters, and John agreed.
Upon Henry’s death, the entire estate belonged to John Dashwood. At first, he wanted to fulfill his promise to his father and provide his sisters with a generous amount. However, he was easily persuaded by his wife, Fanny, and ended up giving them only a meager amount, far less than what he had initially intended. He is weak in the sense that he can be easily influenced and is unable to maintain a firm disposition. I also don’t think he is particularly close to his sisters. What’s worse is that he was already financially comfortable, so it wasn’t as though he couldn’t afford to give them so much more.
Elinor, the eldest daughter, represents practical “sense.” She is reserved, prudent, and logical. She possesses strength of understanding and judgment at only 19. I think she is mature for her age, especially if we compare her to someone of the same age in modern times.
Marianne, the second daughter, represents passionate “sensibility.” She is open, dramatic, and led by deep emotions. She is 17.
Margaret, the youngest at 13, is a character I honestly don’t think was necessary, to be honest. Although she provides some comic relief and occasionally contributes to the plot, she isn’t as developed as her older sisters.
Basically, the story revolves around Elinor and Marianne. They eventually move from Norland Estate to Barton Cottage, where most of the story takes place. Fanny, as the new mistress of Norland Estate following Henry’s death, doesn’t really make them feel welcome. She is possessive of wealth, manipulative, and concerned about social standing. So, together with their mother, they leave. During the months they lived at the estate with John Dashwood and his family, Elinor grew close to Edward Ferrars, Fanny’s brother.
After moving to Barton Cottage, they became acquainted with Sir John Middleton, the man who offered them the cottage, and Mrs. Jennings, his mother-in-law. These two are very chatty, and I like them! They make the Dashwoods feel welcome and often invite them to lunches and dinners. Through them, the Dashwood sisters also meet Colonel Brandon, who owns an estate in Delaford. He is 35, has never been married, and develops an attachment to Marianne early in their acquaintance. So basically, they are still surrounded by aristocrats, even though they have lost much of their wealth and financial security. Marianne later meets Willoughby during one of her afternoon walks. He is handsome and charming, so Marianne is easily smitten. He is in the area and is expecting to inherit money from his wealthy aunt, Mrs. Smith.
As the story progresses, they meet Lucy Steele through Mrs. Jennings. Elinor then discovers that Lucy has been secretly engaged to Edward for a long time. She keeps this information to herself because their engagement is not publicly known. I both hate and like Elinor’s character. I like that she is strong enough to handle the situation on her own. She doesn’t make a scene, even when she sees Edward again. She doesn’t hate him or call him names. She still believes in his character. That’s exactly why I dislike her reaction, though. Edward was already engaged to Lucy when he met Elinor, and he allowed himself to develop an emotional attachment to her without disclosing his engagement. Technically, he wasn’t cheating on Lucy, but I still find his behavior toward Elinor questionable. Getting close to someone without telling them that you are already committed to another person is dishonest. I think Elinor uses “reason” to make excuses for him, which is kind of dumb. I thought she was the smart one! She should have forgiven him without accepting him back.
The sisters, it seems, share the same fate. It turns out that Willoughby is a jerk as well, but he is much worse. He initially denies having feelings for Marianne and even makes it seem as though everything was just in Marianne’s head. He deliberately ignores her when they meet again in London and later sends her a letter disowning their relationship.
It is only later that he admits to Elinor that he genuinely developed feelings for Marianne. However, he chose financial security over love and married Miss Grey for her fortune. It turns out that he lost Mrs. Smith’s favor after she discovered that he had gotten Eliza Williams, pregnant and abandoned her. Eliza was actually Colonel Brandon’s ward and the illegitimate daughter of his first love, who was also named Eliza. Willoughby seduced her and left her to deal with the consequences. If he was going to marry someone he didn’t love for money anyway, he should have just married Eliza. But I guess he didn’t want the responsibility. His behavior reveals that he was willing to pursue women for his own pleasure but unwilling to take responsibility for his actions.
When Mrs. Ferrars discovers Edward’s engagement to Lucy, she becomes furious and threatens to disinherit him. However, Edward stands by his engagement, so he is disinherited. I have to give him credit for this. He may have made a mistake when he was young and inexperienced, but he still honors his promise even when it costs him his inheritance. Fortunately, Colonel Brandon offers him a position as a clergyman at Delaford, which Edward accepts. This is another reason I like Colonel Brandon. He doesn’t just sympathize with Edward, he actually does something to help him establish a respectable career and become financially independent.
In an unexpected turn of events, Lucy grows close to Robert Ferrars. Robert keeps visiting her, supposedly to convince her to give up her engagement to his brother. Instead, they end up marrying each other. Mrs. Ferrars becomes furious and disinherits her favored son as well.
Once Edward is free, he goes to propose to Elinor and explain himself. He was young and inexperienced when he became engaged to Lucy, but he had long since lost his feelings for her. Despite that, he stood by Lucy, even to the point of being disinherited by his family. It says a lot about his loyalty and commitment to his promises. Still, I don’t like that he wasn’t honest with Elinor about his engagement. His integrity in honoring his promise to Lucy doesn’t automatically make him a good romantic partner. He demonstrated loyalty, but he also lacked the courage to be transparent with Elinor. But anyway, he eventually marries Elinor.
Marianne, on the other hand, gives Colonel Brandon a chance and eventually marries him. At first, she feels nothing more than friendship toward him, but over time, her feelings grow into something deeper. She initially believes that love should be passionate and immediate, but eventually learns that affection can develop gradually and that reliability, kindness, and character are just as important as romantic excitement.
Despite being a classic, the story remains relevant and relatable to modern readers. That’s why I find the plot interesting, even though I’m not really a fan of classics because of the old-fashioned English. This is also my first Jane Austen book. I was initially drawn to buying it because of its pretty cover and sprayed edges, lol.
As for the sisters, I initially disliked Marianne because she obviously makes decisions based on her feelings. However, as the story progresses, I find myself liking her more than Elinor. Elinor lost me when she didn’t get angry with Edward at all, lol. She was hurt and disappointed, yet she still believed in his character. What character? A man who wasn’t even honest with her about his engagement? But okay, I’ll give Edward a chance, although I still don’t particularly like him. At least he demonstrated some character development in the end.
On the other hand, I think Marianne’s character development is more interesting. She learns that emotions, while important, shouldn’t dictate every decision. However, I don’t necessarily agree with her ending. In modern times, Marianne would still be underage when she met Colonel Brandon. I don’t like how everyone seemed to be pushing her toward him, especially considering that he was already 35 when they met. That’s an 18-year age gap! They even ended up marrying each other. I understand the historical context, as marriages between younger women and older, financially established men were not unusual during Austen’s time. Still, I find the pairing difficult to romanticize from a modern perspective.
Among all the men in the novel, I like Colonel Brandon the most. He is reliable, kind, has good character, and is financially secure. My only issue is that he ends up with Marianne. I actually think he should have ended up with Elinor instead, although there was never any indication of romantic feelings between them. I think they are much better suited for each other age-wise and temperament-wise. They are both more reserved and seem to have a similar approach to life. Besides, he was able to have more conversations with Elinor throughout the novel anyway.
Lucy Steele – There are lots of Lucy Steeles out there. They look innocent, but deep inside, they’re bitches. She deliberately gets close to Elinor to obtain information about the Ferrars family and to rub it in her face that she is engaged to Edward. Well, I can’t really blame her for the latter because it is her right to reveal her engagement. What I don’t like is how manipulative she is. But I like that Elinor isn’t oblivious to that fact. So I guess Elinor is just dumb when it comes to Edward.
Anyway, Lucy ends up marrying Robert Ferrars, and I don’t think it was necessarily because she fell in love with him. She seems to understand that marriage is one of the few ways a woman in her position can secure her financial future. She is pragmatic, strategic, and knows exactly what she wants. I guess she is more dangerous than she initially appears, lol. In the end, she even becomes Mrs. Ferrars’ favorite daughter-in-law. Wow, gotta hand it to her! She really knows how to survive and thrive in life.
I think the title Sense and Sensibility perfectly captures the contrast between the two sisters. However, I don’t think Austen is simply suggesting that one is better than the other. Elinor sometimes suppresses her emotions too much, while Marianne allows her emotions to dictate her decisions. Both have their shortcomings, and both learn something from their experiences.
Elinor could probably learn to express her feelings more openly, while Marianne learns to exercise better judgment and appreciate a love that develops through time rather than relying solely on passion. Perhaps the point is that neither sense nor sensibility is enough on its own. We need both.
Overall, I enjoyed the book more than I expected. I may not be a fan of the old-fashioned English, but the characters, relationships, and conflicts are surprisingly relatable.
Upon Henry’s death, the entire estate belonged to John Dashwood. At first, he wanted to fulfill his promise to his father and provide his sisters with a generous amount. However, he was easily persuaded by his wife, Fanny, and ended up giving them only a meager amount, far less than what he had initially intended. He is weak in the sense that he can be easily influenced and is unable to maintain a firm disposition. I also don’t think he is particularly close to his sisters. What’s worse is that he was already financially comfortable, so it wasn’t as though he couldn’t afford to give them so much more.
Elinor, the eldest daughter, represents practical “sense.” She is reserved, prudent, and logical. She possesses strength of understanding and judgment at only 19. I think she is mature for her age, especially if we compare her to someone of the same age in modern times.
Marianne, the second daughter, represents passionate “sensibility.” She is open, dramatic, and led by deep emotions. She is 17.
Margaret, the youngest at 13, is a character I honestly don’t think was necessary, to be honest. Although she provides some comic relief and occasionally contributes to the plot, she isn’t as developed as her older sisters.
Basically, the story revolves around Elinor and Marianne. They eventually move from Norland Estate to Barton Cottage, where most of the story takes place. Fanny, as the new mistress of Norland Estate following Henry’s death, doesn’t really make them feel welcome. She is possessive of wealth, manipulative, and concerned about social standing. So, together with their mother, they leave. During the months they lived at the estate with John Dashwood and his family, Elinor grew close to Edward Ferrars, Fanny’s brother.
After moving to Barton Cottage, they became acquainted with Sir John Middleton, the man who offered them the cottage, and Mrs. Jennings, his mother-in-law. These two are very chatty, and I like them! They make the Dashwoods feel welcome and often invite them to lunches and dinners. Through them, the Dashwood sisters also meet Colonel Brandon, who owns an estate in Delaford. He is 35, has never been married, and develops an attachment to Marianne early in their acquaintance. So basically, they are still surrounded by aristocrats, even though they have lost much of their wealth and financial security. Marianne later meets Willoughby during one of her afternoon walks. He is handsome and charming, so Marianne is easily smitten. He is in the area and is expecting to inherit money from his wealthy aunt, Mrs. Smith.
As the story progresses, they meet Lucy Steele through Mrs. Jennings. Elinor then discovers that Lucy has been secretly engaged to Edward for a long time. She keeps this information to herself because their engagement is not publicly known. I both hate and like Elinor’s character. I like that she is strong enough to handle the situation on her own. She doesn’t make a scene, even when she sees Edward again. She doesn’t hate him or call him names. She still believes in his character. That’s exactly why I dislike her reaction, though. Edward was already engaged to Lucy when he met Elinor, and he allowed himself to develop an emotional attachment to her without disclosing his engagement. Technically, he wasn’t cheating on Lucy, but I still find his behavior toward Elinor questionable. Getting close to someone without telling them that you are already committed to another person is dishonest. I think Elinor uses “reason” to make excuses for him, which is kind of dumb. I thought she was the smart one! She should have forgiven him without accepting him back.
The sisters, it seems, share the same fate. It turns out that Willoughby is a jerk as well, but he is much worse. He initially denies having feelings for Marianne and even makes it seem as though everything was just in Marianne’s head. He deliberately ignores her when they meet again in London and later sends her a letter disowning their relationship.
It is only later that he admits to Elinor that he genuinely developed feelings for Marianne. However, he chose financial security over love and married Miss Grey for her fortune. It turns out that he lost Mrs. Smith’s favor after she discovered that he had gotten Eliza Williams, pregnant and abandoned her. Eliza was actually Colonel Brandon’s ward and the illegitimate daughter of his first love, who was also named Eliza. Willoughby seduced her and left her to deal with the consequences. If he was going to marry someone he didn’t love for money anyway, he should have just married Eliza. But I guess he didn’t want the responsibility. His behavior reveals that he was willing to pursue women for his own pleasure but unwilling to take responsibility for his actions.
When Mrs. Ferrars discovers Edward’s engagement to Lucy, she becomes furious and threatens to disinherit him. However, Edward stands by his engagement, so he is disinherited. I have to give him credit for this. He may have made a mistake when he was young and inexperienced, but he still honors his promise even when it costs him his inheritance. Fortunately, Colonel Brandon offers him a position as a clergyman at Delaford, which Edward accepts. This is another reason I like Colonel Brandon. He doesn’t just sympathize with Edward, he actually does something to help him establish a respectable career and become financially independent.
In an unexpected turn of events, Lucy grows close to Robert Ferrars. Robert keeps visiting her, supposedly to convince her to give up her engagement to his brother. Instead, they end up marrying each other. Mrs. Ferrars becomes furious and disinherits her favored son as well.
Once Edward is free, he goes to propose to Elinor and explain himself. He was young and inexperienced when he became engaged to Lucy, but he had long since lost his feelings for her. Despite that, he stood by Lucy, even to the point of being disinherited by his family. It says a lot about his loyalty and commitment to his promises. Still, I don’t like that he wasn’t honest with Elinor about his engagement. His integrity in honoring his promise to Lucy doesn’t automatically make him a good romantic partner. He demonstrated loyalty, but he also lacked the courage to be transparent with Elinor. But anyway, he eventually marries Elinor.
Marianne, on the other hand, gives Colonel Brandon a chance and eventually marries him. At first, she feels nothing more than friendship toward him, but over time, her feelings grow into something deeper. She initially believes that love should be passionate and immediate, but eventually learns that affection can develop gradually and that reliability, kindness, and character are just as important as romantic excitement.
Despite being a classic, the story remains relevant and relatable to modern readers. That’s why I find the plot interesting, even though I’m not really a fan of classics because of the old-fashioned English. This is also my first Jane Austen book. I was initially drawn to buying it because of its pretty cover and sprayed edges, lol.
As for the sisters, I initially disliked Marianne because she obviously makes decisions based on her feelings. However, as the story progresses, I find myself liking her more than Elinor. Elinor lost me when she didn’t get angry with Edward at all, lol. She was hurt and disappointed, yet she still believed in his character. What character? A man who wasn’t even honest with her about his engagement? But okay, I’ll give Edward a chance, although I still don’t particularly like him. At least he demonstrated some character development in the end.
On the other hand, I think Marianne’s character development is more interesting. She learns that emotions, while important, shouldn’t dictate every decision. However, I don’t necessarily agree with her ending. In modern times, Marianne would still be underage when she met Colonel Brandon. I don’t like how everyone seemed to be pushing her toward him, especially considering that he was already 35 when they met. That’s an 18-year age gap! They even ended up marrying each other. I understand the historical context, as marriages between younger women and older, financially established men were not unusual during Austen’s time. Still, I find the pairing difficult to romanticize from a modern perspective.
Among all the men in the novel, I like Colonel Brandon the most. He is reliable, kind, has good character, and is financially secure. My only issue is that he ends up with Marianne. I actually think he should have ended up with Elinor instead, although there was never any indication of romantic feelings between them. I think they are much better suited for each other age-wise and temperament-wise. They are both more reserved and seem to have a similar approach to life. Besides, he was able to have more conversations with Elinor throughout the novel anyway.
Lucy Steele – There are lots of Lucy Steeles out there. They look innocent, but deep inside, they’re bitches. She deliberately gets close to Elinor to obtain information about the Ferrars family and to rub it in her face that she is engaged to Edward. Well, I can’t really blame her for the latter because it is her right to reveal her engagement. What I don’t like is how manipulative she is. But I like that Elinor isn’t oblivious to that fact. So I guess Elinor is just dumb when it comes to Edward.
Anyway, Lucy ends up marrying Robert Ferrars, and I don’t think it was necessarily because she fell in love with him. She seems to understand that marriage is one of the few ways a woman in her position can secure her financial future. She is pragmatic, strategic, and knows exactly what she wants. I guess she is more dangerous than she initially appears, lol. In the end, she even becomes Mrs. Ferrars’ favorite daughter-in-law. Wow, gotta hand it to her! She really knows how to survive and thrive in life.
I think the title Sense and Sensibility perfectly captures the contrast between the two sisters. However, I don’t think Austen is simply suggesting that one is better than the other. Elinor sometimes suppresses her emotions too much, while Marianne allows her emotions to dictate her decisions. Both have their shortcomings, and both learn something from their experiences.
Elinor could probably learn to express her feelings more openly, while Marianne learns to exercise better judgment and appreciate a love that develops through time rather than relying solely on passion. Perhaps the point is that neither sense nor sensibility is enough on its own. We need both.
Overall, I enjoyed the book more than I expected. I may not be a fan of the old-fashioned English, but the characters, relationships, and conflicts are surprisingly relatable.
This entire review has been hidden because of spoilers.
August 28, 2025
I enjoy the CONCEPT of Jane Austen, in that every movie I have seen of her novels I adore, but reading her is an entirely different sphere. I could barely make sense of what was going on tbh, but what I could make sense of had beautiful writing and emotion in it (which is why I'm being nice and giving it 2 stars). It just felt like big word after big word and filler after filler that felt like deciphering the Riddler's puzzles from "The Batman"
September 26, 2026
Box Hill Books has put together a pretty edition of Sense and Sensibility with lots of little extras. I especially like the spot illustration at the beginning of the chapters, and the script used to differentiate the letters within the body of the book. It's simple - a basic paperback, no foil/embossing or anything like that, but they used a premium weight of paper that feels nice in the hand and the cover isn't matte but also isn't excessively glossy. The gutters could be a smidge wider, but that's really the only possible complaint I could make, and it doesn't have a significantly impact on readability.
As a homeschool teacher, I think this edition would be very accessible for high school students: the formatting is clean, they picked a good font with reasonable kerning and line spacing to make it physically easy to read, and the supplemental material at the end includes some great quick-reference guides for the various characters, the timeline and major events, certain social elements that readers of Austen's day would've understood innately which really help the modern reader catch more nuance to the story. The glossary will also be helpful to those who aren't as comfortable with the vocabulary of the classics. All definitely things that could be helpful with understanding and being able to discuss the book as well as write about it.
The discussion questions are pretty straightforward; I would certainly use them in discussing the book with my teens or other adult readers. I'm very happy with this edition!
As a homeschool teacher, I think this edition would be very accessible for high school students: the formatting is clean, they picked a good font with reasonable kerning and line spacing to make it physically easy to read, and the supplemental material at the end includes some great quick-reference guides for the various characters, the timeline and major events, certain social elements that readers of Austen's day would've understood innately which really help the modern reader catch more nuance to the story. The glossary will also be helpful to those who aren't as comfortable with the vocabulary of the classics. All definitely things that could be helpful with understanding and being able to discuss the book as well as write about it.
The discussion questions are pretty straightforward; I would certainly use them in discussing the book with my teens or other adult readers. I'm very happy with this edition!
August 27, 2026
This gorgeous edition of the classic Jane Austin novel makes a perfect gift for young readers. Young readers who have never read novels by Jane Austin will be inspired to read this edition because of the beautiful cover that is designed to attract readers.
Puffin in Bloom with cover artist Anna Bond has created the floral pattern for the cover. This edition of the classic novel is one of several in the Puffin in Bloom collection for young readers.
ISBN 979-8-217-32054-7
Puffin in Bloom with cover artist Anna Bond has created the floral pattern for the cover. This edition of the classic novel is one of several in the Puffin in Bloom collection for young readers.
ISBN 979-8-217-32054-7
March 1, 2026
Obviously, it's a great story but it was just a big tricky to read. Perhaps, also, the fantastic 1995 movie has spooled me for the book somewhat.
August 7, 2026
what a satisfying ending!
January 5, 2026
Eu li em português. só que não achei exato esse em português aq no app.
MT BOM ESSE LIVRO. É infanto juvenil. MAS É BOMMM
MT BOM ESSE LIVRO. É infanto juvenil. MAS É BOMMM
January 17, 2014
A reworking of a classic story that focuses on the plight of two sisters after the untimely death of their father and protector, Cerise DeLand manages to maintain the integrity of the original novel as she expands and brings us a far more steamy version of the original.
No, Austen didn’t have the story wrong for her time: her characters of Elinor and Marianne Dashwood are completely of their time, yet surprisingly created with traits that are ‘less favorable’ for the era in which they live. Highly intelligent, imaginative and resourceful, these young ladies dream of being swept off their feet by a man who will both provide for them, and love them as they are. DeLand takes these flirtations into the realm of the scandalous as these two women, in their own way, explore their more sensual and sexual sides.
Elinor is the eldest, far more flamboyant and outspoken in her real life, her fantasies all surround the quiet and respectful Edward. She longs to experience some of the heart-flutteringly sensations that Marianne is on about in her relationship with John Willoughby, yet Edward remains, true to the time, unstintingly reserved.
Marianne is a bit more flighty, and takes to the unabashed flirtations and advances from Willoughby as a duck would to water. Tired of her sister’s extolling the virtues of a man she sees as solid and boring, Marianne is not interested in the quiet and constant interest from Colonel Brandon, but is she destined for heartbreak or ruin with her profligate ways?
There is difficulty in comparing the two stories, without taking from the obvious talent and cleverness of DeLand’s writing and plotting. In what would have been shamefully scandalous behavior from either of these women in their own time, the cleverness of the character’s curiosity and openness in their discussions, and the readily apparent enjoyment in the steamier scenes brings a solidity to these characters that keeps this version separate from, yet wholly informed by the original.
Diehard fans of the original Austen, my second favorite by that author, will not find great lapses in character, in fact, this retelling of their story with additional more modern elements is an interesting read that adds new perspective and modernizes the original for new readers.
I received an eBook copy from the publisher for purpose of honest review for the Jeep Diva. I was not compensated for this review: all conclusions are my own responsibility.
No, Austen didn’t have the story wrong for her time: her characters of Elinor and Marianne Dashwood are completely of their time, yet surprisingly created with traits that are ‘less favorable’ for the era in which they live. Highly intelligent, imaginative and resourceful, these young ladies dream of being swept off their feet by a man who will both provide for them, and love them as they are. DeLand takes these flirtations into the realm of the scandalous as these two women, in their own way, explore their more sensual and sexual sides.
Elinor is the eldest, far more flamboyant and outspoken in her real life, her fantasies all surround the quiet and respectful Edward. She longs to experience some of the heart-flutteringly sensations that Marianne is on about in her relationship with John Willoughby, yet Edward remains, true to the time, unstintingly reserved.
Marianne is a bit more flighty, and takes to the unabashed flirtations and advances from Willoughby as a duck would to water. Tired of her sister’s extolling the virtues of a man she sees as solid and boring, Marianne is not interested in the quiet and constant interest from Colonel Brandon, but is she destined for heartbreak or ruin with her profligate ways?
There is difficulty in comparing the two stories, without taking from the obvious talent and cleverness of DeLand’s writing and plotting. In what would have been shamefully scandalous behavior from either of these women in their own time, the cleverness of the character’s curiosity and openness in their discussions, and the readily apparent enjoyment in the steamier scenes brings a solidity to these characters that keeps this version separate from, yet wholly informed by the original.
Diehard fans of the original Austen, my second favorite by that author, will not find great lapses in character, in fact, this retelling of their story with additional more modern elements is an interesting read that adds new perspective and modernizes the original for new readers.
I received an eBook copy from the publisher for purpose of honest review for the Jeep Diva. I was not compensated for this review: all conclusions are my own responsibility.
September 5, 2012
An audio cd of S&S read by Cherry Gilchrist
w/ Level 3 paperback adaptation of JA's original edited by Andy Hopkins & Jocelyn Potter.
Illustrated w/ sketches throughout and including activities, discussion questions and word list for level 3 readers considered pre-intermediate.
A good introduction to younger readers/listeners gives the story in understandable language and clearly enunciated dialogue on the audio.
A bit too many changes eg - finding Marianne crying when Mrs Dashwood and daughters return from a 'visit' when in fact it had been preplanned by Willoughby who had come to call on Marianne for an important meeting whilst they would be attending church, etc
Not the accuracy and story I anticipated for my purpose of participation in Austen in August 2012. Yet perfectly suited for it's intended audience I'm sure.
w/ Level 3 paperback adaptation of JA's original edited by Andy Hopkins & Jocelyn Potter.
Illustrated w/ sketches throughout and including activities, discussion questions and word list for level 3 readers considered pre-intermediate.
A good introduction to younger readers/listeners gives the story in understandable language and clearly enunciated dialogue on the audio.
A bit too many changes eg - finding Marianne crying when Mrs Dashwood and daughters return from a 'visit' when in fact it had been preplanned by Willoughby who had come to call on Marianne for an important meeting whilst they would be attending church, etc
Not the accuracy and story I anticipated for my purpose of participation in Austen in August 2012. Yet perfectly suited for it's intended audience I'm sure.
June 30, 2025
Worst Austen novel.
November 17, 2025
Short summary. if you don't want to read the full book, you can try it. Not satisfying, as it doesn't delve deeper.
Displaying 1 - 16 of 16 reviews