JANE AUSTEN Pride And Prejudice

Cambridge University Press0521825148 - Pride and PrejudiceJane AustenFrontmatterMore informationth e c a m b r i d g e e d i ti o no f th e w o r k s o fJA N E AU S T ENp r i d e a n d p r ej u d i c e Cambridge University Presswww.cambridge.org

Cambridge University Press0521825148 - Pride and PrejudiceJane AustenFrontmatterMore informationCambridge University Press and the General EditorJanet Todd wish to express their gratitude to theUniversity of Glasgow and the University of Aberdeen forproviding funding towards the creation of this edition.Their generosity made possible the employment ofAntje Blank as research assistant throughout the project. Cambridge University Presswww.cambridge.org

Cambridge University Press0521825148 - Pride and PrejudiceJane AustenFrontmatterMore informationth e c a m b r i d g e e d i ti o no f th e w o r k s o fJA N E AU S T ENg e n e ra l e d i t o r : Janet Todd, University of Aberdeene d i t o r i a l bo a r dMarilyn Butler, University of OxfordAlistair Duckworth, University of FloridaIsobel Grundy, University of AlbertaClaudia Johnson, Princeton UniversityJerome McGann, University of VirginiaDeirdre Le Faye, independent scholarLinda Bree, Cambridge University Pressv o l u m e s i n th i s s e r i e s :Juvenilia edited by Peter SaborNorthanger Abbey edited by Barbara M. Benedict and Deirdre Le FayeSense and Sensibility edited by Edward CopelandPride and Prejudice edited by Pat RogersMansfield Park edited by John WiltshireEmma edited by Richard Cronin and Dorothy McMillanPersuasion edited by Janet Todd and Antje BlankLater Manuscripts edited by Brian SouthamJane Austen in Context edited by Janet Todd Cambridge University Presswww.cambridge.org

Cambridge University Press0521825148 - Pride and PrejudiceJane AustenFrontmatterMore informationGodmersham Hall, from Edward Hasted, History andTopographical Survey of the County of Kent (1778–9), volume III.Reproduced by permission of The Centre for Kentish Studies,County Hall, Maidstone, Kent. Cambridge University Presswww.cambridge.org

Cambridge University Press0521825148 - Pride and PrejudiceJane AustenFrontmatterMore informationJA N E AU S T ENPRIDEAND PREJUDICEEdited byPat Rogers Cambridge University Presswww.cambridge.org

Cambridge University Press0521825148 - Pride and PrejudiceJane AustenFrontmatterMore informationc a m b r i d g e u n iv e r s i t y p r e s sCambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São PauloCambridge University PressThe Edinburgh Building, Cambridge CB2 2RU, UKPublished in the United States of America byCambridge University Press, New Yorkwww.cambridge.orgInformation on this title: www.cambridge.org/9780521825146 C Cambridge University Press 2006This publication is in copyright. Subject to statutory exception andto the provisions of relevant collective licensing agreements,no reproduction of any part may take place withoutthe written permission of Cambridge University Press.First published 2006Printed in the United Kingdom at the University Press, CambridgeA catalogue record for this publication is available from the British LibraryLibrary of Congress Cataloguing in Publication dataISBN-13 978-0-521-82514-6 hardbackISBN-10 0-521-82514-8 hardbackCambridge University Press has no responsibility for the persistence or accuracy ofURLs for external or third-party internet websites referred to in this publication,and does not guarantee that any content on such websites is, or will remain,accurate or appropriate. Cambridge University Presswww.cambridge.org

Cambridge University Press0521825148 - Pride and PrejudiceJane AustenFrontmatterMore informationCO N T EN T SGeneral Editor’s preface ixAcknowledgements xiiiChronology xvIntroduction xxiiNote on the text lxxixPride and Prejudice1Corrections and emendations to 1813 text 432Appendix 1: Thomas Egerton and thepublication history 437Appendix 2: Legal and military background 441Appendix 3: Pemberley and its models 452Appendix 4: Note on the second and third editions ofPride and Prejudice 456Abbreviations 459Explanatory notes 461vii Cambridge University Presswww.cambridge.org

Cambridge University Press0521825148 - Pride and PrejudiceJane AustenFrontmatterMore informationG EN ER A L ED I T O R ’ S P R EFAC EJane Austen wrote to be read and reread. ‘[A]n artist cannotdo anything slovenly,’ she remarked to her sister Cassandra.Her subtle, crafted novels repay close and repeated attentionto vocabulary, syntax and punctuation as much as to ironyand allusion; yet the reader can take immediate and intensedelight in their plots and characters. As a result Austen hasa unique status among early English novelists – appreciatedby the academy and the general public alike. What HenryCrawford remarks about Shakespeare in Mansfield Park hasbecome equally true of its author: she ‘is a part of an Englishman’s constitution. [Her] thoughts and beauties are so spreadabroad that one touches them every where, one is intimatewith [her] by instinct.’ This edition of the complete oeuvreof the published novels and manuscript works is testament toAusten’s exceptional cultural and literary position. As well asattempting to establish an accurate and authoritative text, itprovides a full contextual placing of the novels.The editing of any canonical writer is a practice whichhas been guided by many conflicting ideologies. In theearly twentieth century, editors, often working alone, largelyagreed that they were producing definitive editions, althoughthey used eclectic methods and often revised the text at will.Later in the century, fidelity to the author’s creative intentions was paramount, and the emphasis switched to devisingan edition that would as far as possible represent the finalauthorial wishes. By the 1980s, however, the pursuit of theix Cambridge University Presswww.cambridge.org

Cambridge University Press0521825148 - Pride and PrejudiceJane AustenFrontmatterMore informationGeneral editor’s prefacesingle perfected text had given way to the recording of multiple intentions of equal interest. Authors were seen to havechanged, revised or recanted, or indeed to have directed various versions of their work towards different audiences. Consequently all states had validity and the text became a processrather than a fixed entity. With this approach came emphasis on the print culture in which the text appeared as well ason the social implications of authorship. Rather than beingstages in the evolution of a single work, the various versionsexisted in their own right, all having something to tell.The Cambridge edition describes fully Austen’s early publishing history and provides details of composition, publication and publishers as well as printers and compositorswhere known. It accepts that many of the decisions concerning spelling, punctuation, capitalising, italicising and paragraphing may well have been the compositors’ rather thanAusten’s but that others may represent the author’s own chosen style. For the novels published in Jane Austen’s lifetimethe edition takes as its copytext the latest edition to whichshe might plausibly have made some contribution: that is, thefirst editions of Pride and Prejudice and Emma and the secondeditions of Sense and Sensibility and Mansfield Park. Where asecond edition is used, all substantive and accidental changesbetween editions are shown on the page so that the reader canreconstruct the first edition, and the dominance of either firstor second editions is avoided. For the two novels publishedposthumously together, Northanger Abbey and Persuasion, thecopytext is the first published edition.Our texts as printed here remain as close to the copytexts aspossible: spelling and punctuation have not been modernisedand inconsistencies in presentation have not been regularised.The few corrections and emendations made to the texts –beyond replacing dropped or missing letters – occur onlyx Cambridge University Presswww.cambridge.org

Cambridge University Press0521825148 - Pride and PrejudiceJane AustenFrontmatterMore informationGeneral editor’s prefacewhen an error is very obvious indeed, and/or where retentionmight interrupt reading or understanding: for example, missing quotation marks have been supplied, run-on words havebeen separated and repeated words excised. All changes tothe texts, substantive and accidental, have been noted in thefinal apparatus. Four of the six novels appeared individually inthree volumes; we have kept the volume divisions and numbering. In the case of Persuasion, which was first published asvolumes 3 and 4 of a four-volume set including NorthangerAbbey, the volume division has been retained but volumes 3and 4 have been relabelled volumes 1 and 2.For all these novels the copytext has been set against twoother copies of the same edition. Where there have been anysubstantive differences, further copies have been examined;details of these copies are given in the initial textual noteswithin each volume, along with information about the printing and publishing context of this particular work. The twovolumes of the edition devoted to manuscript writings dividethe works between the three juvenile notebooks on the onehand and all the remaining manuscript writings on the other.The juvenile notebooks and Lady Susan have some resemblance to the published works, being fair copies and followingsome of the conventions of publishing. The other manuscriptwritings consist in part of fictional works in early drafts, burlesques and autograph and allograph copies of occasionalverses and prayers. The possible dating of the manuscriptwork, as well as the method of editing, is considered in theintroductions to the relevant volumes. The cancelled chapters of Persuasion are included in an appendix to the volume Persuasion; they appear both in a transliteration andin facsimile. For all the manuscript works, their features asmanuscripts have been respected and all changes and erasureseither reproduced or noted.xi Cambridge University Presswww.cambridge.org

Cambridge University Press0521825148 - Pride and PrejudiceJane AustenFrontmatterMore informationGeneral editor’s prefaceIn all the volumes superscript numbers in the texts indicate endnotes. Throughout the edition we have provided fullannotations to give clear and informative historical and cultural information to the modern reader while largely avoidingcritical speculation; we have also indicated words which nolonger have currency or have altered in meaning in some way.The introductions give information concerning the genesisand immediate public reception of the text; they also indicatethe most significant stylistic and generic features. A chronology of Austen’s life appears in each volume. More informationabout the life, Austen’s reading, her relationship to publication, the print history of the novels and their critical receptionthrough the centuries, as well as the historical, political, intellectual and religious context in which she wrote is availablein the final volume of the edition: Jane Austen in Context.I would like to thank Cambridge University Library forsupplying the copytexts for the six novels. I am most gratefulto Linda Bree at Cambridge University Press for her constantsupport and unflagging enthusiasm for the edition and toMaartje Scheltens and Alison Powell for their help at everystage of production. I owe the greatest debt to my researchassistant Antje Blank for her rare combination of scholarlydedication, editorial skills and critical discernment.Janet ToddUniversity of Aberdeenxii Cambridge University Presswww.cambridge.org