《理智与情感》是英国著名女作家简·奥斯汀的处女作。埃莉诺和玛丽安两姐妹生在一个体面的美国乡绅家庭，姐姐善于用理智来控制情感，妹妹却往往情感毫无节制，因此在恋爱中碰到挫折时，她们做出了不同的反映。小说以两位女主角曲折复杂的婚事风波为主线，通过“理智与情感”的幽默对比，提出了道德与行为的规范问题。

　　世界文学史上最受欢迎的女作家之一
　　《傲慢与偏见》姐妹篇 李安执导同名电影
　　淑女绅士之间的爱情悲喜剧

　　简·奥斯汀（Jane Austen，1775年12月16日－1817年7月18日），19世纪英国小说家，世界文学史上最具影响力的女性文学家之一，其最著名的作品是《傲慢与偏见》和《理智与情感》，她的作品主要关注乡绅家庭女性的婚姻和生活，以女性特有的细致入微的观察力和活泼风趣的文字真实地描绘了她周围世界的小天地。

CHAPTER I
CHAPTER II
CHAPTER III
CHAPTER IV
CHAPTER V
CHAPTER VI
CHAPTER VII
CHAPTER VIII
CHAPTER IX
CHAPTER X
CHAPTER XI
CHAPTER XII
CHAPTER XIII
CHAPTER XIV
CHAPTER XV
CHAPTER XVI
CHAPTER XVII
CHAPTER XVIII
CHAPTER XIX
CHAPTER XX
CHAPTER XXI
CHAPTER XXII
CHAPTER XXIII
CHAPTER XXIV
CHAPTER XXV
CHAPTER XXVI
CHAPTER XXVII
CHAPTER XXVIII
CHAPTER XXIX
CHAPTER XXX
CHAPTER XXXI
CHAPTER XXXII
CHAPTER XXXIII
CHAPTER XXXIV
CHAPTER XXXV
CHAPTER XXXVI
CHAPTER XXXVII
CHAPTER XXXVIII
CHAPTER XXXIX
CHAPTER XL
CHAPTER XLI
CHAPTER XLII
CHAPTER XLIII
CHAPTER XLIV
CHAPTER XLV
CHAPTER XLVI
CHAPTER XLVII
CHAPTER XLVIII
CHAPTER XLIX
CHAPTER L

　　“Exert yourself, dear Marianne,” she cried, “if you would not kill yourself and all who love you. Think of your mother; think of her misery while you suffer; for her sake you must exert yourself.”
　　“I cannot, I cannot,” cried Marianne; “leave me, leave me if I distress you; leave me, hate me, forget me! But do not torture me so. Oh! how easy for those who have no sorrow of their own to talk of exertion! Happy, happy Elinor, you cannot have an idea of what I suffer.”
　　“Do you call me happy, Marianne? Ah! if you knew! And can you believe me to be so, while I see you so wretched!”
　　“Forgive me, forgive me,” throwing her arms round her sister’s neck; “I know you feel for me; I know what a heart you have; but yet you are—you must be happy; 　　Edward loves you—What, oh! what can do away such happiness as that?”
　　“Many, many circumstances,” said Elinor solemnly.
　　“No, no, no,” cried Marianne wildly, “he loves you and only you .You can have no grief.”
　　“I can have no pleasure while I see you in this state.”
　　“And you will never see me otherwise. Mine is a misery which nothing can do away.”
　　“You must not talk so, Marianne. Have you no comforts? No friends? Is your loss such as leaves no opening for consolation? Much as you suffer now, think of what you would have suffered if the discovery of his character had been delayed to a later period, if your
engagement had been carried on for months and months, as it might have been, before he chose to put an end to it. Every additional day of unhappy confidence on your side would have made the blow more dreadful.”
　　“Engagement!” cried Marianne, “there has been no engagement.”
　　“No engagement!”
　　“No, he is not so unworthy as you believe him. He has broken no faith with me.”
　　“But he told you that he loved you?”
　　“Yes—no—never absolutely. It was every day implied, but never professedly declared. Sometimes I thought it had been, but it never was.”
　　“Yet you wrote to him?”
　　“Yes—could that be wrong after all that had passed? But I cannot talk.”
　　Elinor said no more, and turning again to the three letters which now raised a much stronger curiosity than before, directly ran over the contents of all. The first, which was what her sister had sent him on their arrival in town, was to this effect..