444:
Macdonald in the act of stealing his money. Macdonald verbally reprimands Sophia and in response she informs him of
Janetta's elopement as revenge. Laura enters into the library and both women are offended by Macdonald's "ill-grounded" accusations (Austen 527). Macdonald tells the women they must leave in half an hour and Laura and Sophia agree to do so. After walking a mile or so, they settle next to a stream to rest. Sophia expresses distress over the situation Augustus was in when they left. On the road near where they are sitting, an accident causes a gentleman's phaeton to overturn. Laura and Sophia rush to help and discover it is Edward and Augustus on the ground bleeding. Sophia faints and Laura shrieks and runs madly about. After more than an hour, Edward regains consciousness and Laura asks what has happened since Augustus was taken to jail. Edward said he will tell her, but after a deep sigh, dies. The women again become frenzied and finally walk to a white cottage. A widow leads them into her house, where Sophia and Laura meet her daughter Bridget.
412:
a few miles from Sophia's relation, they decide to stop. Not wanting to arrive unannounced, the women write an elegant letter detailing their misfortunes and desire to stay with the relative. As soon as they send the letter, they begin to step into their own carriage to follow right behind it. At that moment, another coach arrives and an elderly gentleman emerges and goes into the inn. Laura is overwhelmed with the feeling that this person is her grandfather so she throws herself to her knees in front of him and begs him to acknowledge their relation. He exclaims that she is in fact his granddaughter. Sophia then enters and the elderly man exclaims that Sophia is also his granddaughter descended from another of his daughters. As they are all embracing each other, a young man appears and the elderly man, Lord St. Clair, claims he is also one of his grandchildren. Another youth comes into the room and exclaims that he is the grandchild of Lord St. Clair's fourth daughter. Lord St. Clair writes each of the four grandchildren banknotes and immediately leaves.
430:, and does not have auburn hair (Austen 525). Laura and Sophia ask Janetta if she has ever felt affection for Graham or any other man and soon convince Janetta of her love for a man named Captain M’Kenzie. After analysing Captain M’Kenzie's actions concerning Janetta, Laura and Sophia declare he must be in love with her despite overwhelming evidence to the contrary. They decide to write Captain M’Kenzie a letter encouraging him to confess his attachment to Janetta and secretly marry her. Captain M’Kenzie replies that it was only modesty which kept him from acting sooner and thus Janetta and M’Kenzie leave for Gretna-Green to celebrate their nuptials. Austen's continuous ridicule of love at first sight expresses scepticism about the spontaneous feelings and the truth or lack of truth which those feelings possess (Walder 229).
342:
title" (Austen 518). His father wanted
Lindsay to marry Lady Dorothea but Edward refused as he did not want to oblige his father. So Edward embarked on a journey to his aunt's house but having taken the wrong direction, ended up at Laura's instead. The letter ends with the hasty marriage of Edward and Laura performed by her father, which mocks the sensibility of Austen's characters (Sahney 130). Sahney's analysis shows how Austen's views of sensibility differed from those of the romantic novels she is likely to have read in her youth. While sensibility may have been a value that was pushed upon women of Austen's time, Sahney makes the point that Austen's use of exaggerated hasty decision-making in her novels shows that Austen knows the romantic notion of sensibility is a myth.
472:
things. They went to London and spent the money in seven weeks. They joined a theatre and began performing in plays. Philander and
Gustavus went to their grandfather for money and left once they had obtained the banknotes. The journey continues to Edinburgh. Sir Edward decides to give Laura 400 pounds a year because she is the widow of his son. Laura moves to the Highlands of Scotland and lives in "melancholy solitude" mourning the death of her family, husband, and friend (Austen 534). Augusta marries Graham. Sir Edward marries Lady Dorothea in hopes of gaining her estate. Philander and Gustavus moved to Covent Garden and perform under the names Lewis and Quick. Philippa's husband continues to drive the stagecoach from Edinburgh to Sterling.
370:
motives of Edward and Laura's marriage (Austen 521). At once Edward and Laura take Sir
Edwards carriage and travel to the home of Edward's friend Augustus who is married to Sophia. Upon meeting Sophia, Laura praises Sophia's, "sensibility and feeling," as positive characteristics of her mind (Austen 521). The two women "instantly" vow to be friends forever and share their deepest secrets (Austen 521). Edward and Augustus create an "affecting scene" when they meet causing both Sophia and Laura to faint "alternately" on the couch (Austen 521). By using the words "instantly" and "alternately," Austen shows her mastery of language and the ability of these words to serve as adverbs and also to function satirically (Lambdin 185–86).
384:
is married to a fortune-hunter and Laura and Edward remark at the imprudence and insensibility of her decision. Laura recounts how perfect and happy their stay was with Sophia and
Augustus until Augustus is arrested for unpaid debts. Augustus and Sophia had also defied their parents and Augustus had run out of the money he had taken from his father's escritoire when he left to marry Sophia. Laura describes Augustus's arrest as "treachery" and "barbarity" (Austen 522). With Augustus facing a seizure of the House, Laura, Edward, and Sophia do the only thing they can do. They sigh and faint on the sofa. The theme of rebellion and revolution reappears throughout Austen's work and can be considered conventional (Copeland 92).
286:
her useful lessons (Poplawski 183). The useful lessons are lessons learned from the misfortunes caused by "disagreeable lovers" and "obstinate fathers" (Poplawski 183). Poplawski highlights the importance of the relationship between females and their lovers and also between females and their fathers as a means through which Austen is able to criticise stereotypical female behaviour. As seen throughout the work, these two relationships are constantly criticised by satirical anecdotes. Janetta's relations with her father and with her lover, Capitan M’Kenzie, in the twelfth letter, show Austen mocking the fickleness of family ties and romantic relationships.
890:
398:
to take Sophia and set out for London to see
Augustus. Once in London, Laura asks every person they pass "If they had seen… Edward," but can get no replies since the carriage they are riding in is moving too quickly (Austen 523). Sophia tells Laura that seeing Augustus in distress would "overpower sensibility," especially since hearing of his misfortune is already shocking (Austen 523). So Laura and Sophia resolve to return to the country. Laura then tells Marianne that her mind never wandered to thoughts of her parents, who she forgot to mention had died two weeks after she left their cottage.
35:
593:
300:
describe herself at this age. She emphasises her "accomplishments", which in that period would have been things that made a woman a better companion for her future husband (Austen 516). Laura ends the letter by posing the idea that her misfortunes in life “do not make less impression... than they ever did,” but that her accomplishments have begun to fade (Austen 517). The uncertainty of Laura's memory causes Austen's work to resemble a fairy tale in its qualities of ambiguity.
458:
walking out of the village. She gets into a stagecoach which she decides to take to
Edinburgh. As it is dark when she gets in, Laura does not know who she is riding with and becomes upset that the travellers in the carriage fail to speak to her. At daylight, she realises she is travelling with Sir Edward, Augusta, Lady Dorothea, Philippa, Philander and Gustavus. After Laura tells them that Edward is dead, Augusta realises she is the heiress of Sir Edward's fortunes.
1089:
609:
356:
and Edward in which
Augusta expresses concern about Edward's "imprudent" marriage and consequently of their father's reaction (Austen 520). A discourse ensues in which Edward and Augusta work out just how many years Edward has been defying his father. It is through Edward and Augusta's dialogue that Austen questions the motives of romantic sentimentality (Southam 26). Lady Dorothea briefly visits and Laura does not take kindly to her.
579:
328:
young gentleman, claiming him to be the "most beauteous and amiable youth" she had ever seen (Austen 518). Austen's character Laura's instant and "undying attachment" to the stranger mocks the romantic notion of friendship as an overused cliché (Deresiewicz 103). Deresiewicz shows Austen's satirical view of love and friendship by illuminating the idea that romantic notions of these themes are oversimplified and stereotypical.
659:
426:
daughter
Janetta, who is to be wed to Graham, a man Macdonald has chosen, once they return to Macdonald-Hall. Laura and Sophia see through Macdonald's character and no longer perceive him as well disposed. Laura and Sophia decide Graham is not fit to marry Janetta because Graham has no soul, hasn't read
457:
Next morning Sophia complains of severe pain in her limbs. Gradually, the pain got worse and it turned into a "galloping consumption" or tuberculosis (Austen 530). As Sophia dies, she tells Laura that she dies a "martyr to grief for the loss of
Augustus" (Austen 531). Sophia dies, and Laura takes to
397:
After Laura, Sophia and Edward recover, Edward sets off to town to see his imprisoned friend. Laura and Sophia have a "mature deliberation" and decide to leave the house before the Officers of Justice take possession (Austen 523). They wait for Edward who doesn't return. After fainting, Laura decides
355:
Here Laura and Edward travel to his aunt's house in Middlesex. Edward's marriage to Laura is a surprise to his aunt and to Edward's sister Augusta. Laura notes the "disagreeable coldness and forbidding reserve" with which Augusta greets her (Austen 519). Laura overhears a conversation between Augusta
327:
Here Laura recalls a night in December when a strange man and his servant, who were lost, stopped at her home in need of shelter. Upon hearing a knock at their door, Laura and her family converse about the character of the knock and the knocker's intention. Laura depicts her initial attraction to the
411:
Sophia and Laura decide to travel to Scotland to stay with a relation of Sophia's. At first they are hesitant because Laura is unsure whether the horses will be able to make the journey; the postilion (driver) agrees. They resolve to change horses at the next town and continue the journey. At an inn
299:
Laura's narrative to Marianne begins in the third letter and continues through to the 15th letter. In the 3rd, Laura gives a brief overview of the origins of her parents, her birth in Spain, and her education in a convent in France. At 18, Laura returns to her parents’ home in Wales. Laura pauses to
285:
This consists of a reply from Laura to Isabel. Laura initially disagrees with Isabel's assessment that she is safe from "misfortunes" simply because of her advanced age (Austen 516). Laura agrees to write to Marianne and detail her life experiences to "satisfy the curiosity of Marianne" and to teach
471:
The coach stops for the travellers to have breakfast. Laura seeks out Philander and Gustavus and talk with, but does not ask about the banknotes that disappeared in their presence. At 15, Philander and Gustavus took 900 pounds and ran away. They divided the money into parcels to be spent on various
383:
Laura and Edward receive a letter from Philippa saying that Sir Edward and Augusta went back to Bedfordshire abruptly after the married couple departed. Philippa also desires to see Edward and Laura again and asks them to return after their visit with Augustus and Sophia. A few weeks later Philippa
369:
After Lady Dorothea leaves, Sir Edward unexpectedly visits. Knowing Sir Edward came to admonish Edward for his marriage to Laura, Edward, “with heroic fortitude,” defends his marriage (Austen 521). Edward says it is his "greatest boast" to have displeased his father. Again Austen mocks the romantic
341:
This consists of a dialogue in which the stranger, named Lindsay, tells Laura and her family of his experiences before arriving at their house. Coming from an aristocratic family, Lindsay, referred to as Edward, describes his father as "seduced by the false glare of fortune and the deluding pomp of
271:
This presents a glimpse into the life of Laura from Isabel's perspective. Isabel asks Laura to tell the "misfortunes and adventures" of her life to Isabel's daughter Marianne (Austen 516). Isabel argues that because Laura is turning 55, she is past the danger of "disagreeable lovers" and "obstinate
425:
After Lord St. Clair leaves, Laura and Sophia faint. When they wake up, both the male grandchildren are gone and so are Sophia and Laura's banknotes. Sophia's cousin, Macdonald, who they first perceive as amiable and sympathetic, offers to take them to Macdonald-Hall. They ride with Macdonald's
443:
Here Sophia finds banknotes in a private drawer in Macdonald's library. Laura and Sophia plan to take a banknote or two each time they pass through the room because it would be "proper treatment for so vile a wretch" (Austen 527). However, on the day that Janetta escapes, Sophia is caught by
313:
Here Austen reveals the connection between Laura and Isabel. Laura tells Marianne that Isabel was one of her few neighbours in Wales and that Isabel resided in the neighbourhood due to "indigent circumstances" and for "economic motives" (Austen 517). Laura depicts Isabel as having fewer
662:
314:
accomplishments and less beauty than herself, but being better travelled. Isabel warns Laura of the "insipid vanities and idle dissipations" of London, Bath and Southampton, while instilling in Laura a desire to explore the world (Austen 517).
198:, known as "La Comtesse de Feuillide." The instalments, written as letters from the heroine, Laura, to Marianne, the daughter of her friend Isabel, may have come about as nightly readings by the young Jane in the Austen home.
630:
835:
1123:
1035:
488:
This mocks the plot device of instinctive recognition of unknown relatives found in many novels of the later 18th century, such as
709:
929:
272:
fathers" (Austen 516). This initial letter sets up the rest of Austen's narrative through Laura's letters to Marianne.
78:
56:
49:
1040:
1030:
1015:
1118:
867:
229:
spells, which always turn out badly for the female characters. The story shows the development of Austen's sharp
168:
1113:
1025:
909:
194:
is thought to be one of the tales she wrote for the amusement of her family. It was dedicated to her cousin
984:
154:, dated 1790. While aged 11–18, Austen wrote her tales in three notebooks. These still exist, one in the
621:
939:
702:
860:
679:
638:
Love and Freindship, A novel in a series of Letters: "Deceived in Friendship and Betrayed in Love."
43:
1046:
874:
729:
673:
979:
60:
753:
1092:
949:
889:
695:
608:
242:
23:
8:
1072:
954:
918:
761:
517:, ed. Deidre Shauna Lynch and Jack Stillinger, New York: W. W. Norton & Company, 2006
989:
974:
904:
793:
211:
195:
994:
651:
598:
959:
785:
181:
155:
637:
221:
in featuring wild coincidences and turns of fortune, but Austen is determined to
969:
964:
769:
498:
Novel Relations. The Transformation of Kinship in English Literature, 1748–1818
489:
207:
159:
1107:
1064:
914:
584:
214:, "Deceived in Freindship and Betrayed in Love," which undercuts the title.
999:
944:
777:
225:
the conventions of romantic stories, down to the utter failure of romantic
819:
718:
557:
Jane Austen's Literary Manuscripts: A Study of the Novelist's Development
234:
151:
100:
812:
614:
218:
186:
646:
550:
Jane Austen's Heroes and Other Male Characters: A Sociological Study
827:
668:
226:
578:
1020:
222:
203:
687:
202:(the misspelling is one of many in the story) is clearly a
500:(Cambridge, UK: Cambridge University Press, 2004), p. 400.
230:
146:
574:
210:
Austen read as a child. This is clear even from the
1105:
703:
524:, Cambridge: Cambridge University Press, 1997
617:has original text related to this article:
531:, New York: Columbia University Press, 2004
710:
696:
515:The Norton Anthology of English Literature
79:Learn how and when to remove this message
1124:Juvenilia and other works by Jane Austen
184:form like her later unpublished novella
42:This article includes a list of general
552:, New Delhi: Abhinav Publications, 1990
1106:
522:The Cambridge Companion to Jane Austen
237:, characteristic of her later novels.
691:
566:, New York: The Open University, 1995
534:Laura C. Lambdin Robert T. Lambdin,
513:Jane Austen, "Love and Friendship".
28:
559:, New York: The Athlone Press, 2001
162:. They contain, among other works,
13:
545:, West Port: Greenwood Press, 1998
536:A Companion to Jane Austen Studies
529:Jane Austen and the Romantic Poets
365:Laura to Marianne, in continuation
48:it lacks sufficient corresponding
14:
1135:
1036:Georgian society in Austen novels
570:
538:, Westport: Greenwood Press, 2000
520:Edward Copeland Juliet McMaster,
494:Miss Melmoth; or the New Clarissa
1088:
1087:
990:Eliza de Feuillide (née Hancock)
888:
657:
631:Download as ePub from Wikisource
607:
591:
577:
33:
717:
217:In form, the story resembles a
166:, written when she was 14, and
16:Juvenile Novella by Jane Austen
482:
250:borrowing only the title from
1:
507:
150:] is a juvenile story by
7:
985:Philadelphia Austen Hancock
667:public domain audiobook at
256:
175:
10:
1140:
543:A Jane Austen Encyclopedia
21:
1083:
1056:
1008:
928:
897:
886:
845:
804:
745:
738:
725:
379:From the same to the same
233:and disdain for romantic
158:and the other two in the
129:
114:
106:
96:
861:The Beautifull Cassandra
496:. Quoted in Ruth Perry:
475:
1047:A Memoir of Jane Austen
875:Catharine, or The Bower
63:more precise citations.
1119:Parodies of literature
980:Thomas Langlois Lefroy
868:The History of England
428:The Sorrows of Werther
169:The History of England
1114:Novels by Jane Austen
754:Sense and Sensibility
527:William Deresiewicz,
467:Laura in continuation
453:Laura in continuation
448:Letter The Fourteenth
439:Laura in continuation
434:Letter The Thirteenth
421:Laura in continuation
407:Laura in continuation
393:Laura in continuation
246:is a film version of
243:Love & Friendship
24:Love & Friendship
950:Edward Austen Knight
674:Love and Freindship.
462:Letter The Fifteenth
267:From Isabel to Laura
252:Love and Freindship.
1073:Miss Austen Regrets
955:Henry Thomas Austen
854:Love and Freindship
762:Pride and Prejudice
681:Love and Freindship
664:Love and Freindship
647:Love and Freindship
622:Love and Freindship
402:Letter The Eleventh
200:Love and Freindship
192:Love and Freindship
164:Love and Freindship
141:Love and Freindship
93:
1026:In popular culture
975:Anna Austen Lefroy
940:Rev. George Austen
905:Jane Austen Centre
555:Brian C. Southam,
416:Letter The Twelfth
346:Letter The Seventh
196:Eliza de Feuillide
91:
22:For the film, see
1101:
1100:
1041:Reception history
1031:Styles and themes
995:Catherine Hubback
884:
883:
652:Project Gutenberg
599:Literature portal
564:The Realist Novel
360:Letter The Eighth
351:Laura to Marianne
337:Laura to Marianne
323:Laura to Marianne
309:Laura to Marianne
304:Letter The Fourth
295:Laura to Marianne
276:Letter The Second
172:, written at 15.
137:
136:
130:Publication place
89:
88:
81:
1131:
1091:
1090:
960:Cassandra Austen
892:
786:Northanger Abbey
743:
742:
712:
705:
698:
689:
688:
676:(Flash version).
661:
660:
654:
611:
601:
596:
595:
594:
587:
582:
581:
541:Paul Poplawski,
501:
486:
388:Letter The Tenth
374:Letter The Ninth
332:Letter The Sixth
318:Letter The Fifth
290:Letter The Third
262:Letter The First
156:Bodleian Library
125:
123:
94:
90:
84:
77:
73:
70:
64:
59:this article by
50:inline citations
37:
36:
29:
1139:
1138:
1134:
1133:
1132:
1130:
1129:
1128:
1104:
1103:
1102:
1097:
1079:
1052:
1016:Causes of death
1004:
932:
924:
893:
880:
841:
836:Plan of a Novel
800:
734:
721:
716:
658:
644:
634:
633:
628:
627:
626:
612:
597:
592:
590:
583:
576:
573:
562:Dennis Walder,
510:
505:
504:
487:
483:
478:
281:Laura to Isabel
259:
208:romantic novels
178:
121:
119:
85:
74:
68:
65:
55:Please help to
54:
38:
34:
27:
19:
17:
12:
11:
5:
1137:
1127:
1126:
1121:
1116:
1099:
1098:
1096:
1095:
1084:
1081:
1080:
1078:
1077:
1069:
1060:
1058:
1054:
1053:
1051:
1050:
1043:
1038:
1033:
1028:
1023:
1018:
1012:
1010:
1006:
1005:
1003:
1002:
997:
992:
987:
982:
977:
972:
970:Charles Austen
967:
965:Francis Austen
962:
957:
952:
947:
942:
936:
934:
926:
925:
923:
922:
912:
907:
901:
899:
895:
894:
887:
885:
882:
881:
879:
878:
871:
864:
857:
849:
847:
843:
842:
840:
839:
832:
824:
816:
808:
806:
802:
801:
799:
798:
790:
782:
774:
770:Mansfield Park
766:
758:
749:
747:
740:
736:
735:
733:
732:
726:
723:
722:
715:
714:
707:
700:
692:
686:
685:
684:- PDF edition.
677:
671:
655:
641:
640:
629:
618:
613:
606:
605:
604:
603:
602:
588:
572:
571:External links
569:
568:
567:
560:
553:
548:Reeta Sahney,
546:
539:
532:
525:
518:
509:
506:
503:
502:
490:Sophia Briscoe
480:
479:
477:
474:
464:
463:
450:
449:
436:
435:
418:
417:
404:
403:
390:
389:
376:
375:
362:
361:
348:
347:
334:
333:
320:
319:
306:
305:
292:
291:
278:
277:
264:
263:
258:
255:
240:The 2016 film
177:
174:
160:British Museum
135:
134:
131:
127:
126:
116:
112:
111:
108:
104:
103:
98:
87:
86:
41:
39:
32:
15:
9:
6:
4:
3:
2:
1136:
1125:
1122:
1120:
1117:
1115:
1112:
1111:
1109:
1094:
1086:
1085:
1082:
1075:
1074:
1070:
1067:
1066:
1065:Becoming Jane
1062:
1061:
1059:
1055:
1049:
1048:
1044:
1042:
1039:
1037:
1034:
1032:
1029:
1027:
1024:
1022:
1019:
1017:
1014:
1013:
1011:
1007:
1001:
998:
996:
993:
991:
988:
986:
983:
981:
978:
976:
973:
971:
968:
966:
963:
961:
958:
956:
953:
951:
948:
946:
943:
941:
938:
937:
935:
931:
927:
920:
916:
915:Chawton House
913:
911:
908:
906:
903:
902:
900:
896:
891:
877:
876:
872:
870:
869:
865:
863:
862:
858:
856:
855:
851:
850:
848:
844:
838:
837:
833:
830:
829:
825:
822:
821:
817:
815:
814:
810:
809:
807:
803:
796:
795:
791:
788:
787:
783:
780:
779:
775:
772:
771:
767:
764:
763:
759:
756:
755:
751:
750:
748:
744:
741:
737:
731:
728:
727:
724:
720:
713:
708:
706:
701:
699:
694:
693:
690:
683:
682:
678:
675:
672:
670:
666:
665:
656:
653:
649:
648:
643:
642:
639:
636:
635:
632:
625:
624:
623:
616:
610:
600:
589:
586:
585:Novels portal
580:
575:
565:
561:
558:
554:
551:
547:
544:
540:
537:
533:
530:
526:
523:
519:
516:
512:
511:
499:
495:
491:
485:
481:
473:
469:
468:
461:
460:
459:
455:
454:
447:
446:
445:
441:
440:
433:
432:
431:
429:
423:
422:
415:
414:
413:
409:
408:
401:
400:
399:
395:
394:
387:
386:
385:
381:
380:
373:
372:
371:
367:
366:
359:
358:
357:
353:
352:
345:
344:
343:
339:
338:
331:
330:
329:
325:
324:
317:
316:
315:
311:
310:
303:
302:
301:
297:
296:
289:
288:
287:
283:
282:
275:
274:
273:
269:
268:
261:
260:
254:
253:
249:
245:
244:
238:
236:
232:
228:
224:
220:
215:
213:
209:
205:
201:
197:
193:
189:
188:
183:
173:
171:
170:
165:
161:
157:
153:
149:
148:
143:
142:
132:
128:
117:
113:
109:
105:
102:
99:
95:
83:
80:
72:
62:
58:
52:
51:
45:
40:
31:
30:
25:
20:
1071:
1063:
1045:
1000:Martha Lloyd
945:James Austen
910:House Museum
873:
866:
859:
853:
852:
834:
831:(unfinished)
826:
823:(unfinished)
818:
811:
792:
784:
776:
768:
760:
752:
680:
663:
645:
620:
619:
563:
556:
549:
542:
535:
528:
521:
514:
497:
493:
484:
470:
466:
465:
456:
452:
451:
442:
438:
437:
427:
424:
420:
419:
410:
406:
405:
396:
392:
391:
382:
378:
377:
368:
364:
363:
354:
350:
349:
340:
336:
335:
326:
322:
321:
312:
308:
307:
298:
294:
293:
284:
280:
279:
270:
266:
265:
251:
247:
241:
239:
216:
199:
191:
185:
179:
167:
163:
145:
140:
139:
138:
75:
66:
47:
18:
1076:(2007 film)
1068:(2007 film)
820:The Watsons
719:Jane Austen
248:Lady Susan,
235:sensibility
180:Written in
152:Jane Austen
101:Jane Austen
61:introducing
1108:Categories
1057:Portrayals
933:and people
813:Lady Susan
794:Persuasion
615:Wikisource
508:References
219:fairy tale
187:Lady Susan
182:epistolary
144: [
69:March 2024
44:references
846:Juvenilia
115:Published
1093:Category
1009:Analysis
828:Sanditon
730:Timeline
669:LibriVox
257:Synopsis
227:fainting
212:subtitle
176:Overview
107:Language
1021:Janeite
919:Library
223:lampoon
120: (
110:English
57:improve
930:Family
898:Places
797:(1818)
789:(1818)
781:(1816)
773:(1814)
765:(1813)
757:(1811)
204:parody
97:Author
46:, but
805:Minor
746:Major
739:Works
476:Notes
92:Love
778:Emma
122:1790
118:1790
650:at
492:'s
231:wit
206:of
147:sic
1110::
190:,
133:UK
921:)
917:(
711:e
704:t
697:v
124:)
82:)
76:(
71:)
67:(
53:.
26:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
