Great Expectations By Charles Dickens - With Original Illustrations, Summary and Free Audio Book Link

Mermaids Classics, an imprint of Mermaids Publishing brings the very best of old classic literature to a modern era of digital reading by producing high quality books in ebook format. All of the Mermaids Classics epublications are reproductions of classic antique books that were originally published in print format, mostly over a century ago and are now republished in digital format as ebooks. Begin to build your collection of digital books by looking for more literary gems from Mermaids Classics.

Oliver Twist, (also known as The Parish Boy's Progress) by Charles Dickens (1812-1870) was first published in 1838.

“The story is about an orphan, Oliver Twist, who endures a miserable existence in a workhouse and then is placed with an undertaker. He escapes and travels to London where he meets the Artful Dodger, leader of a gang of juvenile pickpockets. Naively unaware of their unlawful activities, Oliver is led to the lair of their elderly criminal trainer Fagin”. (Citation from Wikipedia)

Mermaids Classics, an imprint of Mermaids Publishing brings the very best of old classic literature to a modern era of digital reading by producing high quality books in ebook format. All of the Mermaids Classics epublications are reproductions of classic antique books that were originally published in print format, mostly over a century ago and are now republished in digital format as ebooks. Begin to build your collection of digital books by looking for more literary gems from Mermaids Classics.

Merry Christmas, everyone! "Bah!" said Scrooge. "Humbug!" With those famous words unfolds a tale that renews the joy and caring that are Christmas. Whether we read it aloud with our family and friends or open the pages on a chill winter evening to savor the story in solitude, Charles Dickens’s A Christmas Carol is a very special holiday experience. It is the one book that every year will warm our hearts with favorite memories of Ebenezer Scrooge, Tiny Tim, Bob Cratchit, and the Ghosts of Christmas Past, Present, and Future — and will remind us with laughter and tears that the true Christmas spirit comes from giving with love.With a heartwarming account of Dickens’s first reading of the Carol, and a biographical sketch.

Persuasion is Jane Austen's last completed novel. She began it soon after she had finished Emma, completing it in August 1816. She died, aged 41, in 1817; Persuasion was published in December that year (but dated 1818).
Persuasion is linked to Northanger Abbey not only by the fact that the two books were originally bound up in one volume and published together, but also because both stories are set partly in Bath, a fashionable city with which Jane Austen was well acquainted, having lived there from 1801 to 1805.
Besides the theme of persuasion, the novel evokes other topics, such as the Royal Navy, in which two of Jane Austen's brothers ultimately rose to the rank of admiral. As in Northanger Abbey, the superficial social life of Bath—well known to Jane Austen, who spent several relatively unhappy and unproductive years there—is portrayed extensively and serves as a setting for the second half of the book. In many respects Persuasion marks a break with Austen's previous works, both in the more biting, even irritable satire directed at some of the novel's characters and in the regretful, resigned outlook of its otherwise admirable heroine, Anne Elliot, in the first part of the story. Against this is set the energy and appeal of the Royal Navy, which symbolizes for Anne and the reader the possibility of a more outgoing, engaged, and fulfilling life, and it is this worldview which triumphs for the most part at the end of the novel.

More than eight years before the novel opens, Anne Elliot, then a lovely, thoughtful, warm-hearted 19 year old, accepts a proposal of marriage from the handsome young naval officer Frederick Wentworth. He is clever, confident, and ambitious, but poor and with no particular family connections to recommend him. Sir Walter, Anne's fatuous, snobbish father and her equally self-involved older sister Elizabeth are dissatisfied with her choice, maintaining that he is no match for an Elliot of Kellynch Hall, the family estate. Her older friend and mentor, Lady Russell, acting in place of Anne's late mother, persuades her to break the engagement.
Now 27 and still unmarried, Anne re-encounters her former love when his sister and brother-in-law, the Crofts, take out a lease on Kellynch. Wentworth is now a captain and wealthy from maritime victories in the Napoleonic wars. However, he has not forgiven Anne for rejecting him. While publicly declaring that he is ready to marry any suitable young woman who catches his fancy, he privately resolves that he is ready to become attached to any appealing young woman except for Anne Elliot.
The self-interested machinations of Anne's father, her older sister Elizabeth, Elizabeth's widowed friend Mrs. Clay, and William Elliot (Anne's cousin and her father's heir) constitute important subplots.

Although readers of Persuasion might conclude that Jane Austen intended "persuasion" to be the unifying theme of the story, the book's title is not hers but her brother Henry's, who named it after her untimely death. Certainly the idea of persuasion runs through the book, with vignettes within the story as variations on that theme. But there is no known source that documents what Austen intended to call her novel. Whatever her intentions might have been, she spoke of it as The Elliots, according to family tradition, and some critics believe that is probably the title she planned for it. As for Northanger Abbey, published at the same time, it was probably her brother Henry who chose that title as well.
On the other hand, the literary scholar Gillian Beer establishes that Jane Austen had profound concerns about the levels and applications of "persuasion" employed in society, especially as it related to the pressures and choices facing the young women of her day. Beer writes that for Austen and her readers persuasion was indeed "fraught with moral dangers"; she notes particularly that Austen personally was appalled by what she came to regard as her own misguided advice to her beloved niece Fanny Knight on the very question of whether Fanny ought to accept a particular suitor, even though it would have meant a protracted engagement. Beer writes:
Jane Austen's anxieties about persuasion and responsibility are here passionately expressed. She refuses to become part of the machinery with which Fanny is manoeuvering herself into forming the engagement. To be the stand-in motive for another's actions frightens her. Yet Jane Austen cannot avoid the part of persuader, even as dissuader.
(Fanny ultimately rejected her suitor and after her aunt's death married someone else.)
Thus, Beer explains, Austen was keenly aware that the human quality of persuasion—to persuade or to be persuaded, rightly or wrongly—is fundamental to the process of human communication, and that, in her novel "Jane Austen gradually draws out the implications of discriminating 'just' and 'unjust' persuasion." Indeed, the narrative winds through a number of situations in which people are influencing or attempting to influence other people—or themselves. Finally, Beer calls attention to "the novel's entire brooding on the power pressures, the seductions, and also the new pathways opened by persuasion".

Anne Elliot is the overlooked middle daughter of the vain Sir Walter, a spendthrift baronet who is all too conscious of his good looks and rank. Anne's mother, a loving, intelligent woman whom her second daughter resembles in appearance and temperament, is long dead. Anne's older sister, Elizabeth, takes after her father, and her younger sister, Mary, is a nervous, fretful woman who has made an unspectacular marriage to Charles Musgrove of nearby Uppercross Hall, the heir to a rustic but respected local squire. None of her family can provide much companionship for the refined, sensitive Anne, who is still unmarried at 27 and seems destined for spinsterhood. Nearly nine years after breaking her engagement (and subsequently turning down a proposal from Charles Musgrove, who went on to marry her sister), she has still not forgotten Frederick Wentworth.
Wentworth reenters Anne's life when Sir Walter is forced by his own fiscal irresponsibility to rent out Kellynch, the family estate. He and Elizabeth move to pricey rental lodgings in the fashionable resort of Bath, while Anne remains behind in Uppercross with her younger sister's family. In what is surely the most flagrant coincidence in all of Austen's six novels, Kellynch's tenants turn out to be none other than Wentworth's sister, Sophia, and her husband, the recently retired Admiral Croft. Wentworth's successes in the Napoleonic Wars have won him promotions and wealth amounting to about £25,000 (around £2.5 million in today's money) from prize money awarded for capturing enemy vessels, and he is now an eminently eligible bachelor. The Musgroves, including Mary, Charles, and Charles's younger sisters, Henrietta and Louisa, are happy to welcome the Crofts and Wentworth to the neighborhood. He is deliberately cool and formal with Anne, whom he describes as altered almost beyond recognition, but delighted with the Musgrove girls, who both respond in kind. Although Henrietta is nominally engaged to her clergyman cousin Charles Hayter, nothing is official, and both the Crofts and Musgroves, who know nothing of Anne and Frederick's previous relationship, enjoy speculating about which sister Wentworth might marry. All this is hard on Anne, who has spent the last several years bitterly regretting that she was ever persuaded to reject him and realizes that he still holds her refusal against her. To avoid watching him keep company with the Musgrove sisters, particularly Louisa, whom he seems to prefer, she does her best to stay out of his way. When they do meet, his conspicuous indifference, coupled with a few acts of seemingly careless kindness toward her, nearly break her heart.
The sad slow pace of Anne's life suddenly picks up when the entire Uppercross family decides to accompany Captain Wentworth on a visit to one of his brother officers, Captain Harville, in the coastal town of Lyme Regis. There Anne meets yet a third officer, Captain James Benwick, a passionate admirer of the Romantic poets, who is in deep mourning for the death of his fiancée, Captain Harville's sister, and appreciates Anne's sympathy and understanding. The new location, new acquaintances, and fresh ocean air all agree with Anne, who begins to regain some of the life and sparkle that Captain Wentworth remembered, and she attracts the attention of another gentleman, who turns out to be the Elliots' long-estranged cousin and her father's heir, William Elliot. While Wentworth is absorbing these developments, Louisa Musgrove sustains a serious concussion in a fall brought about by her own stubborn and impetuous behavior. While her family and friends panic and look on helplessly, Anne coolly administers first aid and summons assistance. Wentworth, who feels responsible for encouraging Louisa's irresponsible behavior in the first place, is both confused and impressed, and begins to reexamine his feelings about Anne.
Following this near-tragedy, Anne relocates to Bath to be with her father and sister, while Louisa stays in Lyme to recover her health at the Harvilles. In Bath Anne finds that her father and sister are as shallow as ever, obsessed with rank and wealth, and flattered by the attentions of William Elliot, a widower, who has now successfully reconciled with his uncle, Sir Walter. Elizabeth assumes that he wishes to court her while Lady Russell, who is also in Bath, more correctly suspects that he admires Anne and is elated to think that her young friend may have a second chance at married happiness with such a suitable suitor.However, although Anne likes William Elliot and enjoys his company, she finds his character disturbingly opaque and tells Lady Russell, "We should not suit," while admitting to herself that his admiration has done a great deal to lift her spirits.
In the midst of this, Admiral Croft and his wife arrive in Bath, and soon afterward comes the news that Louisa Musgrove is indeed engaged—but not to Captain Wentworth. The lucky man is Captain Benwick, who had attended her during her long and interesting convalescence. In short order Wentworth also comes to Bath, where he is not pleased to see Mr. Elliot courting Anne, and he and Anne begin to tentatively renew their acquaintance. Anne also takes the opportunity to reunite with an old school friend, Mrs. Smith, a once prosperous matron who is now a widow living in Bath in straitened circumstances. Through her she discovers that behind his charming veneer, Mr. Elliot is a cold, calculating opportunist who had led Mrs. Smith's late husband into crippling debt. Although Mrs. Smith believes that he is genuinely attracted to Anne, it appears that his real aim in making up to the Elliots has been to keep an eye on the ingratiating Mrs. Clay, whom he worries that Sir Walter may take it into his head to marry. Should Sir Walter marry Mrs. Clay and, thus, provide himself with an heir, it would spell the end of Mr. Elliot's inheritance. Although Anne is shocked and dismayed by this news, it helps to confirm her belief that she, not Lady Russell or anyone else, is the best judge of what will constitute her own happiness.
Ultimately, the Musgroves visit Bath to purchase wedding clothes for their daughters Louisa and Henrietta (now officially engaged to Charles Hayter). Captain Wentworth and his friend Captain Harville encounter them and Anne at a public room in Bath, where Wentworth overhears Anne and Harville conversing about the relative faithfulness of men and women in love. Deeply moved by what Anne has to say, Wentworth writes her a note declaring his feelings for her. In a tender scene, Anne and Wentworth reconcile, affirm their love for each other, and renew their engagement. The story ends less well for Anne's father and sister. They are both jilted by Mr. Elliot, who succeeds in persuading Mrs. Clay to become his mistress. Lady Russell admits she was wrong about Wentworth; she and Anne remain friends; and Wentworth helps Mrs. Smith recover some of her lost assets. Nothing remains to blight Anne's happiness—except the prospect of another war.

Persuasion is widely appreciated as a moving love story despite what has been called its simple plot, and it exemplifies Austen's signature wit and ironic narrative style. While writing Persuasion, however, Austen became ill with the disease that would kill her less than two years later. As a result, the novel is both shorter and arguably less polished than Mansfield Park and Emma since it was not subject to the author's usual careful retrospective revision.
Although the impact of Austen's failing health at the time of writing Persuasion cannot be overlooked, the novel is strikingly original in several ways. It is the first of Austen's novels to feature as the central character a woman who, by the standards of the time, is past the first bloom of youth. Austen biographer Claire Tomalin characterizes the book as Austen's "present to herself, to Miss Sharp, to Cassandra, to Martha Lloyd . . . to all women who had lost their chance in life and would never enjoy a second spring."
The novel is described in the introduction to the Penguin Classics edition as a great Cinderella story. It features a heroine who is generally unappreciated and to some degree exploited by those around her; a handsome prince who appears on the scene but seems more interested in the "more obvious" charms of others; a moment of realization; and the final happy ending. It has been said that it is not that Anne is unloved, but rather that those around her no longer see her clearly: she is such a fixed part of their lives that her likes and dislikes, wishes and dreams are no longer considered, even by those who claim to value her, like Lady Russell.
At the same time, the novel is a paean to the self-made man and the power and prestige of the Royal Navy. Captain Wentworth is just one of several upwardly mobile officers in the story who have risen from humble beginnings to affluence and status on the strength of merit and pluck, not inheritance. It reflects a period in Britain when the very shape of society was changing, as landed wealth (exemplified by Sir Walter) finds it necessary to accommodate the growing prominence of the nouveau riche (such as Wentworth and the Crofts). The success of two of Austen's brothers in the Royal Navy is probably significant. There are also clear parallels with the earlier novel Mansfield Park, which also emphasized, in a rather different context, the importance of constancy in the face of adversity, and the need to endure.
As in her earlier novels, Austen makes some biting comments about "family" and how one chooses whom to associate with. Mary Musgrove wants to nurse her sister-in-law Louisa but doesn't want to stay home to care for her own injured son if it means she will miss making the acquaintance of the famous Captain Wentworth. Elizabeth prefers the plebian Mrs. Clay to her own sister, yet avidly seeks the attentions of Lady Dalrymple who is "amongst the nobility of England and Ireland."
Through her heroine's words, Austen also makes a powerful point about the condition of women as "rational creatures" who are nevertheless at the mercy of males when it comes to recounting their own story through history and books, nearly all of which have been produced by men, and many of which castigate women's "inconstancy" and "fickleness." "Men have had every advantage of us in telling their own story. . . the pen has been in their hands," Anne tells Captain Harville. "I will not allow books to prove anything." (Persuasion Volume 2 Chapter 11).
Jane Austen ends her last completed novel on a note similar in many respects to Pride and Prejudice. The heroine marries for love, with money, moves into a social, emotional, and intellectual sphere worthy of her, and leaves her less admirable connections behind.

Main characters

Sir Walter Elliot, Bt. — A vain, self-satisfied baronet, Sir Walter's extravagance since the death of his prudent wife 13 years before has put his family in financial straits. These are severe enough to force him to lease his estate, Kellynch Hall, to Admiral Croft and take a more economical residence in Bath. Despite being strongly impressed by wealth and status he is attracted in some way to Mrs Clay, who is beneath him in social standing.
Elizabeth Elliot — The eldest and most beautiful daughter of Sir Walter encourages her father's imprudent spending and extravagance. She and her father routinely put their interests ahead of Anne's, regarding her as inconsequential.
Anne Elliot — The second daughter of Sir Walter is highly intelligent and, although accomplished and attractive, is unmarried at 27, having broken off her engagement to Wentworth eight years previously. She fell in love with Captain Wentworth but was persuaded by her mentor, Lady Russell, to reject his proposal because of his poverty and uncertain future.
Main article: Anne Elliot
Mary Musgrove — The youngest daughter of Sir Walter, married to Charles Musgrove, is attention-seeking, always looking for ways she might have been slighted or not given her full due, and often claims illness when she is upset. She greatly opposes sister-in-law Henrietta's interest in marrying Charles Hayter, who Mary feels is beneath them.
Charles Musgrove — Husband of Mary and heir to the Musgrove estate. He had wanted to marry Anne but settled for Mary (much to the disappointment of the Musgrove family, and to his misfortune) when Anne refused him due to her continued love for Wentworth.
Lady Russell — A friend of the Elliots, particularly Anne, of whom she is the godmother. She is instrumental in Sir Walter's decision to leave Kellynch hall and avoid financial crisis. Years ago, she persuaded Anne to turn down Captain Wentworth's proposal of marriage. While far more sensible than Sir Walter Elliot, she shares his concern for rank and connections and did not think Wentworth good enough for Anne because of his inferior birth and financial status.
Mrs. Clay — A poor widow, daughter of Sir Walter's lawyer, and intimate 'friend' of Elizabeth Elliot. She aims to flatter Sir Walter into marriage, while her oblivious friend looks on.
Captain Frederick Wentworth — A naval officer who was briefly engaged to Anne some years ago. At the time, he had no fortune and uncertain prospects, but owing to much success in the Napoleonic Wars, his situation has greatly improved. One of two brothers of Sophia Croft.
Main article: Frederick Wentworth (Persuasion)
Admiral Croft — Good-natured, plainspoken tenant at Kellynch Hall and brother-in-law of Captain Wentworth.
Sophia Croft — Sister of Captain Wentworth and wife of Admiral Croft. She offers Anne an example of a strong-minded woman who has married for love instead of money.
Louisa Musgrove — Second sister of Charles Musgrove, Louisa, aged about 19, is a high-spirited young lady who has recently returned with her sister from school. Captain Wentworth admires her for her resolve and determination, especially in contrast to Anne's prudence and what he sees as Anne's lack of conviction. She is ultimately engaged to Captain Benwick.
Henrietta Musgrove — Eldest sister of Charles Musgrove. Henrietta, aged about 20, is informally engaged to her cousin, Charles Hayter, but is nevertheless tempted by the more dashing Captain Wentworth.
Captain Harville — A friend of Captain Wentworth. Severely wounded two years previously and discharged at half-pay, he and his family have settled in nearby Lyme.
Captain James Benwick — A friend of Captain Harville. Benwick had been engaged to marry Captain Harville's sister Fanny, but she died while Benwick was at sea. Benwick's loss left him melancholic and a lover of poetry. His enjoyment of reading makes him one of the few characters in the story to find an intellectual connection with Anne, and it is implied that he might have an interest in her, but Benwick ultimately becomes engaged to Louisa Musgrove.
Mr. William Elliot — A relation and the heir presumptive of Sir Walter, Mr. Elliot became estranged from the family when he wed a woman of much lower social rank for her fortune, though Sir Walter and Elizabeth had hoped William would marry Elizabeth Elliot. He is now a widower, and (wanting very much to inherit the title) he mends the rupture in order to keep an eye on the ambitious Mrs. Clay. If Sir Walter married her, William's inheritance would be endangered. When Mr. Elliot meets Anne by accident, his interest is piqued: if he could marry Anne his title and inheritance likely would be secured. Rumors circulate that Anne and he are engaged.
Mrs. Smith — A friend of Anne Elliot who lives in Bath. Mrs. Smith is a widow who has suffered ill health and financial difficulties. She keeps abreast of the doings of Bath society through news she gets from her nurse, Rooke, who also works for a friend of William Elliot's. Her financial problems could have been straightened out with some assistance from William Elliot, her husband's former friend, but Elliot would not exert himself, leaving her much impoverished. Wentworth eventually acts on her behalf.
Lady Dalrymple — A viscountess, cousin to Sir Walter. She occupies an exalted position in society by virtue of wealth and rank. Sir Walter and Elizabeth are eager to be seen at Bath in the company of this great relation.

Allusions/references within other works

Persuasion is featured in the 2006 movie The Lake House, and provides a thematic background for the lovers.
Persuading Annie, a novel by Melissa Nathan, is a modern version of Persuasion
Connivance, (ASIN B002ACZU1A), a novel by Helen Baker is a continuation of Persuasion in which clever Mrs Clay continues to charm both Sir Walter Elliot and Mr Elliot, his heir.
Jane Austen in Scarsdale, a novel by Paula Marantz Cohen, is based on the plot of Persuasion. However, Cohen's novel stars Anne Ehrlich, a high school guidance counselor dealing with parents' and students' anxiety over college admissions.
Persuasion is referenced in John Fowles's The French Lieutenant's Woman.
The novel is referenced in 2004 novel The Jane Austen Book Club, by Karen Joy Fowler, which was later made into a film by the same name in 2007.
Persuasion is quoted in the movie The Book Of Ruth which was made for TV in 2004. (The Book Of Ruth was originally a novel by Jane Hamilton.)
The Family Fortune, a novel by Laurie Horowitz, is a modern version of Persuasion set in Boston, Massachusetts.
Captain Wentworth's Diary by Amanda Grange is a parallel novel, showing the story from Wentworth's point of view.
Persuade Me, a novel by Juliet Archer, is a modern version of Persuasion.
For Darkness Shows the Stars, a novel by Diana Peterfreund, is a post-apocalyptic retelling of Persuasion.
The plot of Helen Fielding's Bridget Jones: The Edge of Reason is loosely based on Persuasion
Echoes of Love, a novel by Rosie Rushton, a modern version of Anne's story, from 21st century Austen series.
Film, TV or theatrical adaptations

Persuasion has been the subject of several adaptations:
1960: Persuasion, BBC miniseries starring Daphne Slater as Anne and Paul Daneman as Captain Wentworth.
1971: Persuasion, BBC miniseries starring Anne Firbank as Anne and Bryan Marshall as Captain Wentworth.
1995: Persuasion, made-for-television film (which was released in US theatres by Sony Pictures Classics) starring Amanda Root as Anne and Ciarán Hinds as Captain Wentworth.
2007: Persuasion, teleplay, filmed in Bath in September 2006 for ITV1, with Sally Hawkins as Anne, Rupert Penry-Jones as Captain Wentworth.

Jane Eyre pron.: /ˈɛər/ (originally published as Jane Eyre: An Autobiography) is a novel by English writer Charlotte Brontë. It was published on 16 October 1847 by Smith, Elder & Co. of London, England, under the pen name "Currer Bell." The first American edition was released the following year by Harper & Brothers of New York. Writing for the Penguin edition, Stevie Davies describes it as an "influential feminist text" because of its in-depth exploration of the main female character's feelings.
Primarily of the bildungsroman genre, Jane Eyre follows the emotions and experiences of its eponymous character, including her growth to adulthood, and her love for Mr. Rochester, the byronic master of fictitious Thornfield Hall. In its internalization of the action — the focus is on the gradual unfolding of Jane's moral and spiritual sensibility and all the events are colored by a heightened intensity that was previously the domain of poetry — the novel revolutionized the art of fiction. Charlotte Brontë has been called the 'first historian of the private consciousness' and the literary ancestor of writers like Joyce and Proust. The novel contains elements of social criticism, with a strong sense of morality at its core, but is nonetheless a novel many consider ahead of its time given the individualistic character of Jane and the novel's exploration of classism, sexuality, religion, and proto-feminism.

Jane Eyre is a first-person narrative of the title character. The novel goes through five distinct stages: Jane's childhood at Gateshead, where she is emotionally and physically abused by her aunt and cousins; her education at Lowood School, where she acquires friends and role models but also suffers privations and oppression; her time as the governess of Thornfield Hall, where she falls in love with her Byronic employer, Edward Rochester; her time with the Rivers family, during which her earnest but cold clergyman cousin, St John Rivers, proposes to her; and the finale with her reunion with, and marriage to, her beloved Rochester. During these sections the novel provides perspectives on a number of important social issues and ideas, many of which are critical of the status quo (see the Themes section below). Literary critic Jerome Beaty notes that the close first person perspective leaves the reader "too uncritically accepting of her worldview" and often leads reading and conversation about the novel towards supporting Jane, regardless of how irregular her ideas or perspectives.
Jane Eyre is divided into 38 chapters and most editions are at least 400 pages long. The original publication was in three volumes, comprising chapters 1 to 15, 16 to 26, and 27 to 38; this was a common publishing format during the 19th century (see three-volume novel).
Brontë dedicated the novel's second edition to William Makepeace Thackeray.

The novel begins with the titular character Jane Eyre living with her maternal uncle's family, the Reeds, as her uncle's dying wish. The novel starts when Jane is ten years old and several years after her parents died of typhus. Mr. Reed was the only one in the Reed family to be kind to Jane. Jane’s aunt Sarah Reed does not like her, treats her worse than a servant and discourages and, at times, forbids her children from associating with Jane. Mrs. Reed and her three children are abusive to Jane, both physically and emotionally. The servant Bessie proves to be Jane's only ally in the household even though Bessie sometimes harshly scolds Jane. Excluded from the family activities, Jane is incredibly unhappy with only a doll to find solace. One day, Jane is locked in the red room, where her uncle died, and panics after seeing visions of him. She is finally rescued when she is allowed to attend Lowood School for Girls, after the physician Mr. Lloyd convinces Mrs. Reed to send Jane away. Before Jane leaves, she confronts Mrs. Reed and declares that she'll never call her "aunt" again, that Mrs. Reed and her daughters, Georgiana, and Eliza are deceitful and that she'd tell everyone at Lowood how cruelly Mrs. Reed treated her.

Jane arrives at Lowood Institution, a charity school, the head of which (Brocklehurst) has been told that she is deceitful. During an inspection, Jane accidentally breaks her slate, and Mr. Brocklehurst, the self-righteous clergyman who runs the school, brands her a liar and shames her before the entire assembly. Jane is comforted by her friend, Helen Burns. Miss Temple, a caring teacher, facilitates Jane's self-defense and writes to Mr. Lloyd, whose reply agrees with Jane's. Ultimately, Jane is publicly cleared of Mr. Brocklehurst's accusations.
The eighty pupils at Lowood are subjected to cold rooms, poor meals, and thin clothing. Many students fall ill when a typhus epidemic strikes. Jane's friend Helen dies of consumption in her arms. When Mr. Brocklehurst's neglect and dishonesty are discovered, several benefactors erect a new building and conditions at the school improve dramatically.

After eight years as a student and two as a teacher, Jane decides to leave Lowood, like her friend and confidante Miss Temple. She advertises her services as a governess, and receives one reply. It is from Alice Fairfax, the housekeeper at Thornfield Hall. She takes the position, teaching Adele Varens, a young French girl. While Jane is walking one night to a nearby town, a horseman passes her. The horse slips on ice and throws the rider. She helps him to the horse. Later, back at the mansion she learns that this man is Edward Rochester, master of the house. He teases her, asking whether she bewitched his horse to make him fall. Adele is his ward, left in Mr. Rochester's care when her mother abandoned her. Mr. Rochester and Jane enjoy each other's company and spend many hours together.
Odd things start to happen at the house, such as a strange laugh, a mysterious fire in Mr. Rochester's room, on which Jane throws water, and an attack on Rochester's house guest, Mr. Mason. Jane receives word that her aunt was calling for her, after being in much grief because her son has died. She returns to Gateshead and remains there for a month caring for her dying aunt. Mrs. Reed gives Jane a letter from Jane's paternal uncle, Mr John Eyre, asking for her to live with him. Mrs. Reed admits to telling her uncle that Jane had died of fever at Lowood. Soon after, Jane's aunt dies, and she returns to Thornfield. Jane begins to communicate to her uncle John Eyre.

After returning to Thornfield, Jane broods over Mr. Rochester's impending marriage to Blanche Ingram. But on a midsummer evening, he proclaims his love for Jane and proposes. As she prepares for her wedding, Jane's forebodings arise when a strange, savage-looking woman sneaks into her room one night and rips her wedding veil in two. As with the previous mysterious events, Mr. Rochester attributes the incident to drunkenness on the part of Grace Poole, one of his servants. During the wedding ceremony, Mr. Mason and a lawyer declare that Mr. Rochester cannot marry because he is still married to Mr. Mason’s sister Bertha. Mr. Rochester admits this is true, but explains that his father tricked him into the marriage for her money. Once they were united, he discovered that she was rapidly descending into madness and eventually locked her away in Thornfield, hiring Grace Poole as a nurse to look after her. When Grace gets drunk, his wife escapes, and causes the strange happenings at Thornfield. Jane learns that her own letter to her uncle John Eyre, which happened to be seen by Mr. Mason, who knew John Eyre and was there, was how Mr. Mason found out about the bigamous marriage. Mr. Rochester asks Jane to go with him to the south of France, and live as husband and wife, even though they cannot be married. Refusing to go against her principles, and despite her love for him, Jane leaves Thornfield in the middle of the night.

Jane travels through England using the little money she had saved. She accidentally leaves her bundle of possessions on a coach and has to sleep on the moor, trying to trade her scarf and gloves for food. Exhausted, she makes her way to the home of Diana and Mary Rivers, but is turned away by the housekeeper. She faints on the doorstep, preparing for her death. St. John Rivers, Diana and Mary's brother and a clergyman, saves her. After she regains her health, St. John finds her a teaching position at a nearby charity school. Jane becomes good friends with the sisters, but St. John remains reserved.
The sisters leave for governess jobs and St. John becomes closer with Jane. St. John discovers Jane's true identity, and astounds her by showing her a letter stating that her uncle John Eyre has died and left her his entire fortune of 20,000 pounds (equivalent to over £1.3 million in 2011, calculated using the RPI). When Jane questions him further, St. John reveals that John is also his and his sisters' uncle. They had once hoped for a share of the inheritance, but have since resigned themselves to nothing. Jane, overjoyed by finding her family, insists on sharing the money equally with her cousins, and Diana and Mary come to Moor House to stay.

Thinking she will make a suitable missionary's wife, St. John asks Jane to marry him and to go with him to India, not out of love, but out of duty. Jane initially accepts going to India, but rejects the marriage proposal, suggesting they travel as brother and sister. As soon as Jane's resolve against marriage to St. John begins to weaken, she mysteriously hears Mr. Rochester's voice calling her name. Jane then returns to Thornfield to find only blackened ruins. She learns that Mr. Rochester's wife set the house on fire and committed suicide by jumping from the roof. In his rescue attempts, Mr. Rochester lost a hand and his eyesight. Jane reunites with him, but he fears that she will be repulsed by his condition. When Jane assures him of her love and tells him that she will never leave him, Mr. Rochester again proposes and they are married. He eventually recovers enough sight to see their first-born son.

Characters

Jane Eyre: The protagonist of the novel and the title character. Orphaned as a baby, she struggles through her nearly loveless childhood and becomes governess at Thornfield Hall. Jane is passionate and opinionated, and values freedom and independence. She also has a strong conscience and is a determined Christian.
Mr. Reed: Jane's maternal uncle, who adopts Jane when her parents die. According to Mrs. Reed, he pitied Jane and often cared for her more than for his own children. Before his own death, he makes his wife promise to care for Jane.
Mrs. Sarah Reed: Jane's aunt by marriage, who adopts Jane on her husband's wishes, but abuses and neglects her. She eventually disowns her and sends her to Lowood School.
John Reed: Jane's cousin, who as a child bullies Jane constantly, sometimes in his mother's presence. He ruins himself as an adult by drinking and gambling and is thought to have committed suicide.
Eliza Reed: Jane's cousin. Bitter because she is not as attractive as her sister, she devotes herself self-righteously to religion. She leaves for a nunnery near Lisle after her mother's death, determined to estrange herself from her sister.
Georgiana Reed: Jane's cousin. Although beautiful and indulged, she is insolent and spiteful. Her sister Eliza foils her marriage to the wealthy Lord Edwin Vere, when they were about to elope. She also becomes a friend of Jane's towards the end of the novel and eventually marries a wealthy man.
Bessie Lee: The plain-spoken nursemaid at Gateshead. She often treats Jane kindly, telling her stories and singing her songs. Later she marries Robert Leaven.
Robert Leaven: The coachman at Gateshead, who brings Jane the news of John Reed's death, which brought on Mrs. Reed's stroke.
Mr. Lloyd: A compassionate apothecary who recommends that Jane be sent to school. Later, he writes a letter to Miss Temple confirming Jane's account of her childhood and thereby clearing Jane of Mrs. Reed's charge of lying.
Mr. Brocklehurst: The clergyman, headmaster and treasurer of Lowood School, whose maltreatment of the students is eventually exposed. A religious traditionalist, he advocates for his charges the most harsh, plain, and disciplined possible lifestyle—but not, hypocritically, for himself and his own family. His second daughter Augusta hereby states: "Oh, my dear papa, how quiet and plain all the girls at Lowood look... they look at my dress and mama's, as if they never seen a silk gown before."
Miss Maria Temple: The kind superintendent of Lowood School, who treats the students with respect and compassion. She helps clear Jane of Mr. Brocklehurst's false accusation of deceit, and cares for Helen in her last days. Eventually she marries Reverend Naysmith.
Miss Scatcherd: A sour and vicious teacher at Lowood.
Helen Burns: Jane's best friend at Lowood School. She refuses to hate those who abuse her, trusting in God and praying for peace one day in heaven. She teaches Jane to trust Christianity, and dies of consumption in Jane's arms. Elizabeth Gaskell, in her biography of the Brontë sisters, wrote that Helen Burns was 'an exact transcript' of Maria Brontë, who died of consumption at age 11.
Edward Fairfax Rochester: The master of Thornfield Manor. A Byronic hero, he is tricked into making an unfortunate first marriage to Bertha Mason many years before he meets Jane, with whom he falls madly in love.
Bertha Antoinetta Mason: The violently insane first wife of Edward Rochester; moved to Thornfield and locked in the attic and eventually commits suicide by burning down Thornfield Hall.
Adèle Varens: An excitable French child to whom Jane is governess at Thornfield. She has been Mr. Rochester's ward since the death of her mother, Rochester's mistress.
Mrs. Alice Fairfax: An elderly widow and the housekeeper of Thornfield Manor. She cares for both Jane and Mr. Rochester.
Leah: The young, pretty and kind housemaid at Thornfield, with an occasional excitable nature.
Blanche Ingram: A socialite whom Mr. Rochester temporarily courts in order to make Jane jealous. She is described as having great beauty, but displays callous behaviour and avaricious intent.
Richard Mason: An Englishman from the West Indies, whose sister is Mr. Rochester's first wife. He took part in tricking Mr. Rochester into marrying Bertha, earning both of their anger. He still, however, cares for his sister's well-being.
Grace Poole: Bertha Mason's caretaker. Mr. Rochester pays her a very high salary to keep Bertha hidden and quiet, and she is often used as an explanation for odd happenings. She has a weakness for drink that occasionally allows Bertha to escape.
St. John Eyre Rivers: A clergyman who befriends Jane and turns out to be her cousin. He is thoroughly practical and suppresses all his human passions and emotions in favour of piety. He is determined to go to India as a missionary, even if it means losing his love, Rosamond.
Diana and Mary Rivers: St. John's sisters and (as it turns out) Jane's cousins. They are poor, intelligent, and kind-hearted, and want St. John to stay in England.
Rosamond Oliver: A beautiful, wealthy young woman, the patron of the village school where Jane teaches. She falls in love with St. John, only to be rejected because she will not make a good missionary's wife.
Alice Wood: Jane's maid when she is mistress of the girls' charity school in Morton.
John Eyre: Jane's paternal uncle, who leaves her his vast fortune and wishes to adopt her at the age of 13. Mrs. Reed prevents the adoption out of spite towards Jane.
Mr. Oliver: Rosamond Oliver's father. He is a kind and charitable old man and is fond of St. John.

Jane refuses to become Mr. Rochester's paramour because of her "impassioned self-respect and moral conviction." She rejects St. John Rivers' Puritanism as much as the libertine aspects of Mr. Rochester's character. Instead, she works out a morality expressed in love, independence, and forgiveness. Jane does not want to be seen as an outcast to society by being a mistress to Rochester.

Throughout the novel, Jane endeavours to attain an equilibrium between moral duty and earthly happiness. She despises the hypocritical puritanism of Mr. Brocklehurst, and sees the deficiencies in St. John Rivers' indulgent yet detached devotion to his Christian duty. As a child, Jane admires Helen Burns' life's philosophy of 'turning the other cheek', which in turn helps her in adult life to forgive Aunt Reed and the Reed cousins for their cruelty. Although she does not seem to subscribe to any of the standard forms of popular Christianity, she honours traditional morality – particularly seen when she refuses to marry Mr. Rochester until he is widowed. The last sentence of the novel is a prayer of St. John Rivers on his own behalf: "Religion serves to moderate Jane's behavior, but she never represses her true self."
In her preface to the second edition of Jane Eyre, Brontë makes her beliefs clear; "conventionality is not morality" and "self-righteousness is not religion," declaring that narrow human doctrines, which serve only to elate and magnify a few, should not be substituted for the world-redeeming creed of Christ. Throughout the novel, Brontë presents contrasts between characters who believe in and practice what she considers a true Christianity, and those who pervert religion to further their own ends. Here are further examples:
Mr. Brocklehurst, who oversees Lowood Institution, is a hypocritical Christian. He professes aid and charity but does the opposite by using religion as a justification for punishment. For instance, he cites the Biblical passage "man shall not live by bread alone", to rebuke Miss Temple for having fed the girls an extra meal to compensate for their inedible breakfast of burnt porridge. He tells Miss Temple that she "may indeed feed their vile bodies, but you little think how you starve their immortal souls!".
Helen Burns is a complete contrast to Brocklehurst; she follows the Christian creed of 'turning the other cheek' and by loving those who hate her. On her deathbed, Helen tells Jane "I'm going home to God, who loves me." Jane herself cannot quite profess Helen's absolute, selfless faith. Jane does not seem to follow a particular doctrine, but she is sincerely religious in a non-doctrinaire, general way; it is Jane, after all, who places the stone with the word "Resurgam" (Latin for 'I will rise again') on Helen's grave, some fifteen years after her friend's death. Jane is seen frequently praying and calling on God to assist her, especially with her struggles concerning Mr. Rochester; praying for his wellness and safety.
When Hannah, the Rivers' housekeeper, tries to turn the begging Jane away at the door, Jane tells her that "if you are a Christian, you ought not consider poverty a crime."
The young evangelical clergyman St. John Rivers is a more conventionally religious figure. However, Brontë portrays his religious aspect ambiguously. Jane calls him "a very good man," yet she finds him cold and forbidding. In his determination to do good deeds (in the form of missionary work in India), St. John courts martyrdom. Moreover, he is unable to see Jane as a whole person, but views her only as a helpmate in his impending missionary work.
Mr. Rochester is a less than perfect Christian. He is, indeed, a sinner: he attempts to enter into a bigamous marriage with Jane and, when that fails, tries to persuade her to become his mistress. He also confesses that he has had three previous mistresses. However, at the end of the book Mr.Rochester repents his sinfulness, thanks God for returning Jane, and ask Him for the strength to lead a purer life.

Jane's ambiguous social position — a penniless yet decently educated orphan from a good family — leads her to criticize some discrimination based on class, though she makes class discriminations herself. Although she is educated, well-mannered, and relatively sophisticated, she is still a governess, a paid servant of low social standing, and therefore relatively powerless.

A particularly important theme in the novel is the depiction of a patriarchal society. Jane attempts to assert her own identity within male-dominated society. Three of the main male characters, Mr. Brocklehurst, Mr. Rochester and St. John Rivers, try to keep Jane in a subordinate position and prevent her from expressing her own thoughts and feelings. Jane escapes Mr. Brocklehurst and rejects St. John, and she only marries Mr. Rochester once she is sure that their marriage is one between equals. Through Jane, Brontë opposes Victorian stereotypes about women, articulating her own feminist philosophy:
Women are supposed to be very calm generally: but women feel just as men feel; they need exercise for their faculties, and a field for their efforts as much as their brothers do; they suffer from too rigid a restraint, too absolute a stagnation, precisely as men would suffer; and it is narrow-minded in their more privileged fellow-creatures to say that they ought to confine themselves to making puddings and knitting stockings, to playing on the piano and embroidering bags. It is thoughtless to condemn them, or laugh at them, if they seek to do more or learn more than custom has pronounced necessary for their sex. (Chapter XII)
It is also interesting to note that while most readings of Jane Eyre accept that Bertha is truly insane, the only specific claim Mr Rochester makes against her is that she has been 'unchaste'. While this admittedly continues to be considered unacceptable behaviour in a spouse, it hardly qualifies as insanity. Some feminist readings of the novel have taken this to mean that the strictures imposed on women contemporary to the book were such that stepping outside of them could have been construed as insane. Whether or not Bertha was genuinely mad before she was confined to the attic is open to interpretation.
Other interpretations have seen this as evidence that Bertha was syphilitic, and that the romanticism of the book neglects the truth that Edward Rochester would have been as well. The book may use the syphilitic condition as a metaphor for the sexual predation and narcissistic projection of Edward Rochester; Edward says Bertha is "unchaste" in an attempt to relieve himself of the psychic pain of his having the disease himself and his own likely role in Bertha acquiring that condition as well as the fact he likely has the disease and risks infecting Jane. His psychological projection combined with his position of power distorts reality such that it gives Bertha no choice but to be "insane" (which may be combined with actual physical brain deterioration from the syphilis) if any challenge to his veracity would cause her greater problems, such as abandonment, starvation, etc.

A central theme in Jane Eyre is that of the clash between conscience and passion — which one is to adhere to, and how to find a middle ground between the two. Jane, extremely passionate yet also dedicated to a close personal relationship with God, struggles between either extreme for much of the novel. An instance of her leaning towards conscience over passion can be seen after it has been revealed that Mr. Rochester already has a wife, when Jane is begged to run away with Mr. Rochester and become his mistress. Up until that moment, Jane had been riding on a wave of emotion, forgetting all thoughts of reason and logic, replacing God with Mr. Rochester in her eyes, and allowing herself to be swept away in the moment. However, once the harsh reality of the situation sets in, Jane does everything in her power to refuse Mr. Rochester, despite almost every part of her rejecting the idea and urging her to just give into Mr. Rochester's appeal. In the moment, Jane experiences an epiphany in regards to conscience, realizing that “laws and principles are not for times when there is no temptation: they are for such moments as this.” Jane finally comes to understand that all passion, as she had been living her life up until then, and all conscience, as she had leaned towards during her time at Lowood, is neither good nor preferable. In this case, Jane had allowed herself to lean too far in the direction of passion, and she is in danger of giving up all logic and reason in favour of temptation. However, Jane finally asserts that in times of true moral trial, such as the one she is in with Mr. Rochester at the moment, to forgo one's principles, to violate the “law given by God,” would be too easy - and not something she is willing to do. Jane's struggles to find a middle ground between her passionate and conscience-driven sides frequently go back and forth throughout the novel, but in this case she has drawn the line as to where passion is taking too great a role in her life, and where she will not allow herself to forgo her moral and religious principles.

The role and standing of women in the Victorian era is considered by Brontë in Jane Eyre, specifically in regard to Jane's independence and ability to make decisions for herself. As a young woman, small and of relatively low social standing, Jane encounters men during her journey, of good, bad, and morally debatable character. However, many of them, no matter their ultimate intentions, attempt to establish some form of power and control over Jane. One example can be seen in Mr. Rochester, a man who ardently loves Jane, but who frequently commands and orders Jane about. As a self-assured and established man, and her employer, Mr. Rochester naturally assumes the position of the master in their relationship. He sometimes demands rather than questioning Jane, tries to manipulate and assess her feelings towards him, and enjoys propping up Jane through excessive gifts and luxuries that only he would have been able to provide. Jane, however, believes in the importance of women's independence, and strives to maintain a position in life devoid of any debts to others. Her initial lack of money and social status unnerves her, as she realizes that without the means to be an independent woman, she is bound to either struggle through life trying to make a living or marry and become dependent on a man. Even after Jane agrees to marry Mr. Rochester, and is swept up in the passion of the moment, the feminist elements of her personality still show through. She is uncomfortable with the showering of lavish gifts, as she resents that they will make her further reliant on and in debt to Mr. Rochester, and thus tries to resist them. Furthermore, Jane asserts that even after she is married to Mr. Rochester, she will continue to be Adèle's governess and earn her keep. This plan, which was entirely radical and unheard of for the time, further illustrates Jane's drive to remain a somewhat independent woman. While the significant men present in Jane's life throughout the novel all try to, in some form or another, establish themselves as dominant over Jane, she in most cases remains resistant at least to a certain degree, refusing to submit fully or lose all of her independence. This final adherence to her strong convictions on the independence of women point out Brontë's similar views on the patriarchal Victorian society of the time.

Much of the religious concern in Jane Eyre has to do with atonement and forgiveness. Mr. Rochester is tormented by his awareness of his past sins and misdeeds. He frequently confesses that he has led a life of vice, and many of his actions in the course of the novel are less than commendable. Readers may accuse him of behaving sadistically in deceiving Jane about the nature of his relationship (or rather, non-relationship) with Blanche Ingram in order to provoke Jane's jealousy. His confinement of Bertha may bespeak mixed motives. He is certainly aware that in the eyes of both religious and civil authorities, his marriage to Jane before Bertha's death would be bigamous. Yet, at the same time, Mr. Rochester makes genuine efforts to atone for his behaviour. For example, although he does not believe that he is Adele's natural father, he adopts her as his ward and sees that she is well cared for. This adoption may well be an act of atonement for the sins he has committed. He expresses his self-disgust at having tried to console himself by having three different mistresses during his travels in Europe and begs Jane to forgive him for these past transgressions. However, Mr. Rochester can only atone completely — and be forgiven completely — after Jane has refused to be his mistress and left him. The destruction of Thornfield by fire finally removes the stain of his past sins; the loss of his left hand and of his eyesight is the price he must pay to atone completely for his sins. Only after this purgation can he be redeemed by Jane's love.

Without any living family that she is aware of (until well into the story), throughout the course of the novel Jane searches for a place that she can call home. Significantly, houses play a prominent part in the story. (In keeping with a long English tradition, all the houses in the book have names). The novel's opening finds Jane living at Gateshead Hall, but this is hardly a home. Mrs. Reed and her children refuse to acknowledge her as a relation, treating her instead as an unwanted intruder and an inferior.
Shunted off to Lowood Institution, a boarding school for orphans and destitute children, Jane finds a home of sorts, although her place here is ambiguous and temporary. The school's manager, Mr. Brocklehurst, treats it more as a business than as school in loco parentis (in place of the parent). His emphasis on discipline and on spartan conditions at the expense of the girls' health make it the antithesis of the ideal home.
Jane subsequently believes she has found a home at Thornfield Hall. Anticipating the worst when she arrives, she is relieved when she is made to feel welcome by Mrs. Fairfax. She feels genuine affection for Adèle (who in a way is also an orphan) and is happy to serve as her governess. As her love for Mr. Rochester grows, she believes that she has found her ideal husband in spite of his eccentric manner and that they will make a home together at Thornfield. The revelation — as they are on the verge of marriage — that he is already legally married — brings her dream of home crashing down. Fleeing Thornfield, she literally becomes homeless and is reduced to begging for food and shelter. The opportunity of having a home presents itself when she enters Moor House, where the Rivers sisters and their brother, the Reverend St. John Rivers, are mourning the death of their father. She soon speaks of Diana and Mary Rivers as her own sisters, and is overjoyed when she learns that they are indeed her cousins. She tells St. John Rivers that learning that she has living relations is far more important than inheriting twenty thousand pounds. (She mourns the uncle she never knew. Earlier she was disheartened on learning that Mrs. Reed told her uncle that Jane had died and sent him away.) However, St. John Rivers' offer of marriage cannot sever her emotional attachment to Rochester. In an almost visionary episode, she hears Mr. Rochester's voice calling her to return to him. The last chapter begins with the famous simple declarative sentence, "Reader, I married him," and after a long series of travails Jane's search for home and family ends in a union with her ideal mate.

The early sequences, in which Jane is sent to Lowood, a harsh boarding school, are derived from the author's own experiences. Helen Burns's death from tuberculosis (referred to as consumption) recalls the deaths of Charlotte Brontë's sisters Elizabeth and Maria, who died of the disease in childhood as a result of the conditions at their school, the Clergy Daughters School at Cowan Bridge, near Tunstall, Lancashire. Mr. Brocklehurst is based on Rev. William Carus Wilson (1791–1859), the Evangelical minister who ran the school, and Helen Burns is probably modelled on Charlotte's sister Maria. Additionally, John Reed's decline into alcoholism and dissolution recalls the life of Charlotte's brother Branwell, who became an opium and alcohol addict in the years preceding his death. Finally, like Jane, Charlotte becomes a governess. These facts were revealed to the public in The Life of Charlotte Brontë (1857) by Charlotte's friend and fellow novelist Elizabeth Gaskell.
The Gothic manor of Thornfield was probably inspired by North Lees Hall, near Hathersage in the Peak District. This was visited by Charlotte Brontë and her friend Ellen Nussey in the summer of 1845 and is described by the latter in a letter dated 22 July 1845. It was the residence of the Eyre family, and its first owner, Agnes Ashurst, was reputedly confined as a lunatic in a padded second floor room.
It has been suggested that the Wycoller Hall in Lancashire, close to Haworth, provided the setting for Ferndean Manor to which Mr Rochester retreats after the fire at Thornfield: there are similarities between the owner of Ferndean, Mr Rochester's father, and Henry Cunliffe who inherited Wycoller in the 1770s and lived there until his death in 1818; one of Cunliffe's relatives was named Elizabeth Eyre (née Cunliffe).
The sequence in which Mr Rochester's wife sets fire to the bed curtains was prepared in an August 1830 homemade publication of Brontë's, The Young Men's Magazine, Number 2.

Jane Eyre uses many motifs from Gothic fiction, such as the Gothic manor (Thornfield), the Byronic hero (Mr. Rochester) and The Madwoman in the Attic (Bertha), whom Jane perceives as resembling "the foul German spectre—the Vampyre" (Chapter XXV) and who attacks her own brother in a distinctly vampiric way: "She sucked the blood: she said she'd drain my heart" (Chapter XX). The mystery of Thornfield manor with its dark secrets creates a typically Gothic atmosphere of suspense. When resolved, we then get the theme of madness, also common in Gothic fiction, as is the motif of two characters, John Reed and Bertha Mason, who commit suicide. Although the novel contains no overt supernatural occurrences, hints of apparently supernatural happenings are frequently mentioned such as Jane's prophetic dreams, her sense of the ghost of her uncle, the lightning striking the chestnut tree on the night she agrees to marry Mr. Rochester, and Jane and Mr. Rochester being able to hear each other's call over miles of separation when St John forces Jane into a decision to marry him.
Jane Eyre also combines Gothicism with romanticism to create a distinctive Victorian novel. Jane and Rochester are attracted to each other, but there are impediments to their love. The conflicting personalities of the two lead characters and the norms of society are an obstacle to their love, as often occurs in romance novels, but so also is Rochester's secret marriage to Bertha, the main Gothic element of the story.
Literary allusions from the Bible, fairy tales, The Pilgrim's Progress, Paradise Lost, and the novels and poetry of Sir Walter Scott are also much in evidence. John Reed is compared to Caligula. Jane is compared to Guy Fawkes. Both Biblical figures like Samson and figures from Greek myths such as Apollo are referred to at various times.

The novel has been adapted into a number of popular forms, including film, television and theater. However, perhaps more importantly, the novel has been the center of a number of rewritings and reinterpretations. Most notably reinterpretations and rewritings by notable authors have become important within British and American literature, including novels like Jean Rhys's Wide Sargasso Sea and Daphne du Maurier's Rebecca.

According to a review of Jane Eyre in The Quarterly Review, it was found to be "pre-eminently an anti-Christian composition" (Shapiro 683). Although Brontë clearly intended for the book to be a protest against Victorian lifestyle, which caused a great unrest with the Quarterly Review, they found Jane Eyre to be more radical than its original intent: "We do not hesitate to say that the tone of mind and thought which has overthrown authority and violated every code human and divine abroad, and fostered Chartism and rebellion at home, is the same which has also written Jane Eyre" (Shapiro 683). Although Jane Eyre is now commonly accepted into the canon of high-school English literature, its immediate reception was in stark contrast to its modern-day reception.

War and Peace (Pre-reform Russian: «Война и миръ», Voyna i mir) is a novel by the Russian author Leo Tolstoy, first published in 1869. The work is epic in scale and is regarded as one of the most important works of world literature. It is considered Tolstoy's finest literary achievement, along with his other major prose work Anna Karenina (1873–1877).
War and Peace delineates in graphic detail events surrounding the French invasion of Russia, and the impact of the Napoleonic era on Tsarist society, as seen through the eyes of five Russian aristocratic families. Portions of an earlier version of the novel, then known as The Year 1805, were serialized in the magazine The Russian Messenger between 1865 and 1867. The novel was first published in its entirety in 1869. Newsweek in 2009 ranked it first in its list of the Top 100 Books. In 2003, the novel was listed at number 20 on the BBC's survey The Big Read.
Tolstoy himself, somewhat enigmatically, said of War and Peace that it was "not a novel, even less is it a poem, and still less a historical chronicle." Large sections of the work, especially in the later chapters, are philosophical discussion rather than narrative. He went on to elaborate that the best Russian literature does not conform to standard norms and hence hesitated to call War and Peace a novel. (Instead, Tolstoy regarded Anna Karenina as his first true novel.)

War and Peace is well known as being one of the longest novels ever written, though not the longest. It is actually the seventh longest novel ever written in a Latin or Cyrillic based alphabet and is subdivided into four books or volumes, each with sub parts containing many chapters.
Tolstoy came up with the title, and some of his themes, from an 1861 work of Pierre-Joseph Proudhon: La Guerre et la Paix ('War and Peace' in French). Tolstoy had served in the Crimean War and written a series of short stories and novellas featuring scenes of war.
He began writing War and Peace in the year that he finally married and settled down at his country estate. The first half of the book was written under the name "1805".
During the writing of the second half, he read widely and acknowledged Schopenhauer as one of his main inspirations. However, Tolstoy developed his own views of history and the role of the individual within it.
The first draft of War and Peace was completed in 1863. In 1865, the periodical Russkiy Vestnik published the first part of this early version under the title 1805. In the following year, it published more of the same early version. Tolstoy was dissatisfied with this version, although he allowed several parts of it to be published with a different ending in 1867, still under the same title "1805". He heavily rewrote the entire novel between 1866 and 1869. Tolstoy's wife, Sophia Tolstaya, wrote as many as seven separate complete manuscripts by hand before Tolstoy considered it again ready for publication. The version that was published in Russkiy Vestnik had a very different ending from the version eventually published under the title War and Peace in 1869.
The completed novel was then called Voyna i mir (new style orthography; in English War and Peace).
The 1805 manuscript (sometimes referred to as "the original War and Peace") was re-edited and annotated in Russia in 1983 and since has been translated separately from the "known" version, to English, German, French, Spanish, Dutch, Swedish, Finnish, Albanian, and Korean. The fact that so many extant versions of War and Peace survive make it one of the best insights into the mental processes of a great novelist.
Russians who had read the serialized version were anxious to acquire the complete first edition, which included epilogues, and it sold out almost immediately. The novel was translated almost immediately after publication into many other languages.
The novel can be generally classified as historical fiction. It contains elements present in many types of popular 18th and 19th century literature, especially the romance novel. War and Peace attains its literary status by transcending genres.
Tolstoy was instrumental in bringing a new kind of consciousness to the novel. His narrative structure is noted for its "god-like" ability to hover over and within events, but also in the way it swiftly and seamlessly portrayed a particular character's point of view. His use of visual detail is often cinematic in its scope, using the literary equivalents of panning, wide shots and close-ups, to give dramatic interest to battles and ballrooms alike. These devices, while not exclusive to Tolstoy, are part of the new style of the novel that arose in the mid-19th century and of which Tolstoy proved himself a master.

Tolstoy incorporated extensive historical research. He was also influenced by many other novels. A veteran of the Crimean War, Tolstoy was quite critical of standard history, especially the standards of military history, in War and Peace. Tolstoy read all the standard histories available in Russian and French about the Napoleonic Wars and combined more traditional historical writing with the novel form. He explains at the start of the novel's third volume his own views on how history ought to be written. His aim was to blur the line between fiction and history, in order to get closer to the truth, as he states in Volume II.
The novel is set 60 years earlier than the time at which Tolstoy wrote it, "in the days of our grandfathers", as he puts it. He had spoken with people who had lived through war during the French invasion of Russia in 1812, so the book is also, in part, accurate ethnography fictionalized. He read letters, journals, autobiographical and biographical materials pertaining to Napoleon and the dozens of other historical characters in the novel. There are approximately 160 real persons named or referred to in War and Peace.

Although Tolstoy wrote most of the book, including all the narration, in Russian, significant portions of dialogue (including its opening paragraph) are written in French with characters often switching between the two languages. This reflected 19th century Russian aristocracy, where French, a foreign tongue, was widely spoken and considered a language of prestige and more refined than Russian. This came about from the historical influence throughout Europe of the powerful court of the Sun King, Louis XIV of France, leading to members of the Russian aristocracy being less competent in speaking their mother tongue. In War and Peace, for example, Julie Karagina, Princess Marya's friend, has to take Russian lessons in order to master her native language.
It has been suggested that it is a deliberate literary device employed by Tolstoy, to use French to portray artifice and insincerity as the language of the theater and deceit while Russian emerges as a language of sincerity, honesty and seriousness. It displays slight irony that as Pierre and others socialize and use French phrases, they will be attacked by legions of Bonapartists in a very short time. It is sometimes used in satire against Napoleon. In the novel, when Pierre proposes to Hélène, he speaks to her in French — Je vous aime ('I love you'). When the marriage later emerges to be a sham, Pierre blames those French words.
The use of French diminishes as the book progresses and the wars with the French intensify, culminating in the capture and eventual burning of Moscow. The progressive elimination of French from the text is a means of demonstrating that Russia has freed itself from foreign cultural domination. It is also, at the level of plot development, a way of showing that a once-admired and friendly nation, France, has turned into an enemy. By midway through the book, several of the Russian aristocracy, whose command of French is far better than their command of Russian, are anxious to find Russian tutors for themselves.

War and Peace has been translated into many languages. It has been translated into English on several occasions, starting with Clara Bell working from a French translation. The translators Constance Garnett and Louise and Aylmer Maude knew Tolstoy personally. Translations have to deal with Tolstoy’s often peculiar syntax and his fondness for repetitions. About 2% of War and Peace is in French; Tolstoy removed the French in a revised 1873 edition, only to restore it later. Most translators follow Garnett retaining some French, Briggs uses no French, while Pevear-Volokhonsky and Amy Mandelker's revision of the Maude translation both retain the French fully.

The novel begins in the year 1805 during the reign of Tsar Alexander I and leads up to the 1812 French invasion of Russia by Napoleon. The era of Catherine the Great (1762–1796), when the royal court in Paris was the centre of western European civilization, is still fresh in the minds of older people. Catherine, fluent in French and wishing to reshape Russia into a great European nation, made French the language of her royal court. For the next one hundred years, it became a social requirement for members of the Russian nobility to speak French and understand French culture. This historical and cultural context in the aristocracy is reflected in War and Peace. Catherine's grandson, Alexander I, came to the throne in 1801 at the age of 24. In the novel, his mother, Marya Feodorovna, is the most powerful woman in the Russian court.
War and Peace tells the story of five aristocratic families — the Bezukhovs, the Bolkonskys, the Rostovs, the Kuragins and the Drubetskoys—and the entanglements of their personal lives with the then contemporary history of 1805 to 1813, principally Napoleon's invasion of Russia in 1812. The Bezukhovs, while very rich, are a fragmented family as the old Count, Kirill Vladimirovich, has fathered dozens of illegitimate sons. The Bolkonskys are an old established and wealthy family based at Bald Hills. Old Prince Bolkonsky, Nikolai Andreevich, served as a general under Catherine the Great, in earlier wars. The Moscow Rostovs have many estates, but never enough cash. They are a closely knit, loving family who live for the moment regardless of their financial situation. The Kuragin family has three children, who are all of questionable character. The Drubetskoy family is of impoverished nobility, and consists of an elderly mother and her only son, Boris, whom she wishes to push up the career ladder.
Tolstoy spent years researching and rewriting the book. He worked from primary source materials (interviews and other documents), as well as from history books, philosophy texts and other historical novels. Tolstoy also used a great deal of his own experience in the Crimean War to bring vivid detail and first-hand accounts of how the Russian army was structured.
The standard Russian text of War and Peace is divided into four books (fifteen parts) and an epilogue in two parts – one mainly narrative, the other thematic. While roughly the first half of the novel is concerned strictly with the fictional characters, the later parts, as well as one of the work's two epilogues, increasingly consist of essays about the nature of war, power, history, and historiography. Tolstoy interspersed these essays into the story in a way that defies previous fictional convention. Certain abridged versions remove these essays entirely, while others, published even during Tolstoy's life, simply moved these essays into an appendix.

War and Peace has a large cast of characters, the majority of whom are introduced in the first book. Some are actual historical figures, such as Napoleon and Alexander I. While the scope of the novel is vast, it is centered around five aristocratic families. The plot and the interactions of the characters take place in the era surrounding the 1812 French invasion of Russia during the Napoleonic wars.

The novel begins in July 1805 in Saint Petersburg, at a soirée given by Anna Pavlovna Scherer — the maid of honour and confidante to the queen mother Maria Feodorovna. Many of the main characters and aristocratic families in the novel are introduced as they enter Anna Pavlovna's salon. Pierre (Pyotr Kirilovich) Bezukhov is the illegitimate son of a wealthy count, an elderly man who is dying after a series of strokes. Pierre is about to become embroiled in a struggle for his inheritance. Educated abroad at his father's expense following his mother's death, Pierre is essentially kindhearted, but socially awkward, and owing in part to his open, benevolent nature, finds it difficult to integrate into Petersburg society. It is known to everyone at the soirée that Pierre is his father's favorite of all the old count’s illegitimate children.
Also attending the soireé is Pierre's friend, the intelligent and sardonic Prince Andrei Nikolayevich Bolkonsky, husband of Lise, the charming society favourite. Finding Petersburg society unctuous and disillusioned with married life after discovering his wife is empty and superficial, Prince Andrei makes the fateful choice to be an aide-de-camp to Prince Mikhail Ilarionovich Kutuzov in the coming war against Napoleon.
The plot moves to Moscow, Russia's ancient city and former capital, contrasting its provincial, more Russian ways to the highly mannered society of Petersburg. The Rostov family are introduced. Count Ilya Andreyevich Rostov has four adolescent children. Thirteen-year-old Natasha (Natalia Ilyinichna) believes herself in love with Boris Drubetskoy, a disciplined young man who is about to join the army as an officer. Twenty-year-old Nikolai Ilyich pledges his love to Sonya (Sofia Alexandrovna), his fifteen-year-old cousin, an orphan who has been brought up by the Rostovs. The eldest child of the Rostov family, Vera Ilyinichna, is cold and somewhat haughty but has a good prospective marriage in a Russian-German officer, Adolf Karlovich Berg. Petya (Pyotr Ilyich) is nine and the youngest of the Rostov family; like his brother, he is impetuous and eager to join the army when of age. The heads of the family, Count Ilya Rostov and Countess Natalya Rostova, are an affectionate couple but forever worried about their disordered finances.
At Bald Hills, the Bolkonskys' country estate, Prince Andrei departs for war and leaves his terrified, pregnant wife Lise with his eccentric father Prince Nikolai Andreyevich Bolkonsky and devoutly religious sister Maria Nikolayevna Bolkonskaya.
The second part opens with descriptions of the impending Russian-French war preparations. At the Schöngrabern engagement, Nikolai Rostov, who is now conscripted as ensign in a squadron of hussars, has his first taste of battle. He meets Prince Andrei, whom he insults in a fit of impetuousness. Even more than most young soldiers, he is deeply attracted by Tsar Alexander's charisma. Nikolai gambles and socializes with his officer, Vasily Dmitrich Denisov, and befriends the ruthless, and perhaps, psychopathic Fyodor Ivanovich Dolokhov.

Book Two begins with Nikolai Rostov briefly returning on home leave to Moscow. Nikolai finds the Rostov family facing financial ruin due to poor estate management. He spends an eventful winter at home, accompanied by his friend Denisov, his officer from the Pavlograd Regiment in which he serves. Natasha has blossomed into a beautiful young girl. Denisov falls in love with her, proposes marriage but is rejected. Although his mother pleads with Nikolai to find himself a good financial prospect in marriage, Nikolai refuses to accede to his mother's request. He promises to marry his childhood sweetheart, the dowry-less Sonya.
Pierre Bezukhov, upon finally receiving his massive inheritance, is suddenly transformed from a bumbling young man into the richest and most eligible bachelor in the Russian Empire. Despite rationally knowing that it is wrong, he is convinced into marriage with Prince Kuragin's beautiful and immoral daughter Hélène (Elena Vasilyevna Kuragina), to whom he is superficially attracted. Hélène, who is rumoured to be involved in an incestuous affair with her brother, the equally charming and immoral Anatol, tells Pierre that she will never have children with him. Hélène is rumoured to have an affair with Dolokhov, who mocks Pierre in public. Pierre loses his temper and challenges Dolokhov, a seasoned dueller and ruthless killer, to a duel. Unexpectedly, Pierre wounds Dolokhov. Hélène denies her affair, but Pierre is convinced of her guilt and, after almost being violent to her, leaves her. In his moral and spiritual confusion, Pierre joins the Freemasons, and becomes embroiled in Masonic internal politics. Much of Book Two concerns his struggles with his passions and his spiritual conflicts to be a better man. Now a rich aristocrat, he abandons his former carefree behavior and enters upon a philosophical quest particular to Tolstoy: how should one live a moral life in an ethically imperfect world? The question continually baffles and confuses Pierre. He attempts to liberate his serfs, but ultimately achieves nothing of note.
Pierre is vividly contrasted with the intelligent and ambitious Prince Andrei Bolkonsky. At the Battle of Austerlitz, Andrei is inspired by a vision of glory to lead a charge of a straggling army. He suffers a near fatal artillery wound. In the face of death, Andrei realizes all his former ambitions are pointless and his former hero, Napoleon (who rescues him in a horseback excursion to the battlefield), is apparently as vain as himself.
Prince Andrei recovers from his injuries in a military hospital and returns home, only to find his wife Lise dying in childbirth. He is stricken by his guilty conscience for not treating Lise better when she was alive, and is haunted by the pitiful expression on his dead wife's face. His child, Nikolenka, survives.
Burdened with nihilistic disillusionment, Prince Andrei does not return to the army but chooses to remain on his estate, working on a project that would codify military behavior to solve problems of disorganization responsible for the loss of life on the Russian side. Pierre visits him and brings new questions: where is God in this amoral world? Pierre is interested in panentheism and the possibility of an afterlife.
Pierre's estranged wife, Hélène, begs him to take her back, and against his better judgment and in trying to abide by the Freemason laws of forgiveness, he does. Despite her vapid shallowness, Hélène establishes herself as an influential hostess in Petersburg society.
Prince Andrei feels impelled to take his newly written military notions to Petersburg, naively expecting to influence either the Emperor himself or those close to him. Young Natasha, also in Petersburg, is caught up in the excitement of dressing for her first grand ball, where she meets Prince Andrei and briefly reinvigorates him with her vivacious charm. Andrei believes he has found purpose in life again and, after paying the Rostovs several visits, proposes marriage to Natasha. However, old Prince Bolkonsky, Andrei's father, dislikes the Rostovs, opposes the marriage, and insists on a year's delay. Prince Andrei leaves to recuperate from his wounds abroad, leaving Natasha initially distraught. She soon recovers her spirits, however, and Count Rostov takes her and Sonya to spend some time with a friend in Moscow.
Natasha visits the Moscow opera, where she meets Hélène and her brother Anatol. Anatol has since married a Polish woman who he has abandoned in Poland. He is very attracted to Natasha and is determined to seduce her. Hélène and Anatol conspire together to accomplish this plan. Anatol kisses Natasha and writes her passionate letters, eventually establishing plans to elope. Natasha is convinced that she loves Anatol and writes to Princess Maria, Andrei's sister, breaking off her engagement. At the last moment, Sonya discovers her plans to elope and foils them. Pierre is initially horrified by Natasha's behavior, but realizes he has fallen in love with her. During the time when the Great Comet of 1811–2 streaks the sky, life appears to begin anew for Pierre.
Prince Andrei accepts coldly Natasha's breaking of the engagement. He tells Pierre that his pride will not allow him to renew his proposal. Ashamed, Natasha makes a suicide attempt and is left seriously ill.

With the help of her family, especially Sonya, and the stirrings of religious faith, Natasha manages to persevere in Moscow through this dark period. Meanwhile, the whole of Russia is affected by the coming confrontation between Napoleon's troops and the Russian army. Pierre convinces himself through gematria that Napoleon is the Antichrist of the Book of Revelation. Old prince Bolkonsky dies of a stroke while trying to protect his estate from French marauders. No organized help from any Russian army seems available to the Bolkonskys, but Nikolai Rostov turns up at their estate in time to help put down an incipient peasant revolt. He finds himself attracted to Princess Maria, but remembers his promise to Sonya.
Back in Moscow, the war-obsessed Petya manages to snatch a loose piece of the Tsar's biscuit outside the Cathedral of the Assumption; he finally convinces his parents to allow him to enlist.
Napoleon himself is a main character in this section of the novel and is presented in vivid detail, as both a thinker and would-be strategist. His toilette and his customary attitudes and traits of mind are depicted in detail. Also described are the well-organized force of over 400,000 French Army (only 140,000 of them actually French-speaking) which marches quickly through the Russian countryside in the late summer and reaches the outskirts of the city of Smolensk. Pierre decides to leave Moscow and go to watch the Battle of Borodino from a vantage point next to a Russian artillery crew. After watching for a time, he begins to join in carrying ammunition. In the midst of the turmoil he experiences firsthand the death and destruction of war. The battle becomes a hideous slaughter for both armies and ends in a standoff. The Russians, however, have won a moral victory by standing up to Napoleon's reputedly invincible army. For strategic reasons and having suffered grievous losses, the Russian army withdraws the next day, allowing Napoleon to march on to Moscow. Among the casualties are Anatol Kuragin and Prince Andrei. Anatol loses a leg, and Andrei suffers a grenade wound in the abdomen. Both are reported dead, but their families are in such disarray that no one can be notified.

The Rostovs have waited until the last minute to abandon Moscow, even after it is clear that Kutuzov has retreated past Moscow and Muscovites are being given contradictory, often propagandistic, instructions on how to either flee or fight. Count Rostopchin is publishing posters, rousing the citizens to put their faith in religious icons, while at the same time urging them to fight with pitchforks if necessary. Before fleeing himself, he gives orders to burn the city. The Rostovs have a difficult time deciding what to take with them, but in the end, Natasha convinces them to load their carts with the wounded and dying from the Battle of Borodino. Unknown to Natasha, Prince Andrei is amongst the wounded.
When Napoleon's Grand Army finally occupies an abandoned and burning Moscow, Pierre takes off on a quixotic mission to assassinate Napoleon. He becomes an anonymous man in all the chaos, shedding his responsibilities by wearing peasant clothes and shunning his duties and lifestyle. The only people he sees while in this garb are Natasha and some of her family, as they depart Moscow. Natasha recognizes and smiles at him, and he in turn realizes the full scope of his love for her.
Pierre saves the life of a French officer who fought at Borodino, yet is taken prisoner by the retreating French during his attempted assassination of Napoleon, after saving a woman from being raped by soldiers in the French Army. He becomes friends with a fellow prisoner, Platon Karataev, a peasant with a saintly demeanor, who is incapable of malice. In Karataev, Pierre finally finds what he has been seeking: an honest person of integrity (unlike the aristocrats of Petersburg society) who is utterly without pretense. Pierre discovers meaning in life simply by living and interacting with him. After witnessing French soldiers sacking Moscow and shooting Russian civilians arbitrarily, Pierre is forced to march with the Grand Army during its disastrous retreat from Moscow in the harsh Russian winter. After months of trial and tribulation—during which the fever-plagued Karataev is shot by the French—Pierre is finally freed by a Russian raiding party, after a small skirmish with the French that sees the young Petya Rostov killed in action.
Meanwhile, Andrei, wounded during Napoleon's invasion, has been taken in as a casualty and cared for by the Rostovs, fleeing from Moscow to Yaroslavl. He is reunited with Natasha and his sister Maria before the end of the war. Having lost all will to live, he forgives Natasha in a last act before dying.
As the novel draws to a close, Pierre's wife Hélène dies from an overdose of abortion medication (Tolstoy does not state it explicitly but the euphemism he uses is unambiguous). Pierre is reunited with Natasha, while the victorious Russians rebuild Moscow. Natasha speaks of Prince Andrei's death and Pierre of Karataev's. Both are aware of a growing bond between them in their bereavement. With the help of Princess Maria, Pierre finds love at last and, revealing his love after being released by his former wife's death, marries Natasha.

The first part of the epilogue begins with the wedding of Pierre and Natasha in 1813. It is the last happy event for the Rostov family, which is undergoing a transition. Count Rostov dies soon after, leaving his eldest son Nikolai to take charge of the debt-ridden estate.
Nikolai finds himself with the task of maintaining the family on the verge of bankruptcy. His abhorrence at the idea of marrying for wealth almost gets in his way, but finally he marries the now-rich Maria Bolkonskaya and in so doing also saves his family from financial ruin.
Nikolai and Maria then move to Bald Hills with his mother and Sonya, whom he supports for the rest of their life. Buoyed by his wife's fortune, Nikolai pays off all his family's debts. They also raise Prince Andrei's orphaned son, Nikolai Andreyevich (Nikolenka) Bolkonsky.
As in all good marriages, there are misunderstandings, but the couples–Pierre and Natasha, Nikolai and Maria–remain devoted to their spouses. Pierre and Natasha visit Bald Hills in 1820, much to the jubilation of everyone concerned. There is a hint in the closing chapters that the idealistic, boyish Nikolenka and Pierre would both become part of the Decembrist Uprising. The first epilogue concludes with Nikolenka promising he would do something with which even his late father "would be satisfied..." (presumably as a revolutionary in the Decembrist revolt).
The second part of the epilogue contains Tolstoy's critique of all existing forms of mainstream history. The 19th century Great Man Theory claims that historical events are the result of the actions of "heroes" and other great individuals, Tolstoy argues that this is impossible because of how rarely these actions result in great historical events. Rather, he argues, great historical events are the result of many smaller events driven by the thousands of individuals involved, (he compares this to Calculus, and the sum of infinitesimals). He then goes on to argue that these smaller events are the result of an inverse relationship between necessity and free-will, necessity being based on reason and therefore explainable by historical analysis, and free-will being based on "consciousness" and therefore inherently unpredictable.

Principal characters in War and Peace:

Count Pyotr Kirillovich (Pierre) Bezukhov — The large-bodied, ungainly, and socially awkward illegitimate son of an old Russian grandee. Pierre, educated abroad, returns to Russia as a misfit. His unexpected inheritance of a large fortune makes him socially desirable. Pierre is the central character and often a voice for Tolstoy's own beliefs or struggles.
Prince Andrey Nikolayevich Bolkonsky — A strong but cynical, thoughtful and philosophical aide-de-camp in the Napoleonic Wars.
Princess Maria Nikolayevna Bolkonskaya — Sister of Prince Andrew, Princess Maria is a pious woman whose eccentric father attempted to give her a good education. The caring, nurturing nature of her large eyes in her otherwise thin and plain face are frequently mentioned.
Count Ilya Andreyevich Rostov — The pater-familias of the Rostov family; terrible with finances, generous to a fault.
Countess Natalya Rostova — Wife of Count Ilya Rostov, mother of the four Rostov children.
Countess Natalya Ilyinichna (Natasha) Rostova — A central character, introduced as "not pretty but full of life" and a romantic young girl, she evolves through trials and suffering and eventually finds happiness. She is an accomplished singer and dancer.
Count Nikolai Ilyich (Nikolenka) Rostov — An hussar, the beloved eldest son of the Rostov family.
Sofia Alexandrovna (Sonya) Rostova — Orphaned cousin of Vera, Nikolai, Natasha, and Petya Rostov.
Countess Vera Ilyinichna Rostova — Eldest of the Rostov children, she marries the German career soldier, Berg.
Pyotr Ilyich (Petya) Rostov — Youngest of the Rostov children.
Prince Vasily Sergeyevich Kuragin — A ruthless man who is determined to marry his children well, despite having doubts about the character of some of them.
Princess Elena Vasilyevna (Hélène) Kuragin — A beautiful and sexually alluring woman who has many affairs, including (it is rumoured) with her brother Anatole.
Prince Anatole Vasilyevich Kuragin — Hélène's brother and a very handsome and amoral pleasure seeker who is secretly married yet tries to elope with Natasha Rostova.
Prince Ippolit Vasilyevich — The eldest and perhaps most dim-witted of the Kuragin children.
Prince Boris Drubetskoy — A poor but aristocratic young man driven by ambition, even at the expense of his friends and benefactors, who marries for money, rather than love, an heiress, Julie Karagina.
Princess Anna Mihalovna Drubetskaya — The mother of Boris.
Fyodor Ivanovich Dolokhov — A cold, almost psychopathic officer, he ruins Nikolai Rostov by luring him into an outrageous gambling debt (by which he, Dolokhov, profits), he only shows love to his doting mother.
Adolf Karlovich Berg — A young Russian officer, who desires to be just like everyone else.
Anna Pavlovna Sherer — Also known as Annette, she is the hostess of the salon that is the site of much of the novel's action in Petersburg.
Maria Dmitryevna Akhrosimova — An older Moscow society lady, she is an elegant dancer and trend-setter, despite her age and size.
Amalia Evgenyevna Bourienne — A French woman who lives with the Bolkonskys, primarily as Princess Marya's companion.
Vasily Dmitrich Denisov — Nikolai Rostov's friend and brother officer, who proposes to Natasha.
Platon Karataev – The archetypal good Russian peasant, whom Pierre meets in the prisoner of war camp.
Napoleon I of France — the Great Man, whose fate is detailed in the book.
General Mikhail Ilarionovich Kutuzov — Russian commander-in-chief.
Osip Bazdeyev — the Freemason who interests Pierre in his mysterious group, starting a lengthy subplot.
Tsar Alexander I of Russia — He signed a peace treaty with Napoleon in 1807 and then went to war with him.
Many of Tolstoy's characters in War and Peace were based on real-life people known to Tolstoy himself. His grandparents and their friends were the models for many of the main characters, his great-grandparents would have been of the generation of Prince Vassily or Count Ilya Rostov. Some of the characters, obviously, are actual historic figures.

The novel which has made its author "the true lion of the Russian literature" (according to Ivan Goncharov)upon its publication enjoyed great success with the reading public and spawned dozens of reviews and analytical essays in the press, some of which (by Pisarev, Annenkov, Dragomirov and Strakhov) formed the basis for Tolstoy scholars' later research. Yet the Russian press's initial response to the novel was muted, most critics feeling bewildered by this mammoth work they couldn’t decide how to classify. The liberal newspaper Golos (The Voice, April 3, #93, 1865) was one of the first to react. Its anonymous reviewer posed the question which was later repeated by many others: "What could this possibly be? What kind of genre are we supposed to file it to?.. Where is fiction in it, and where is real history?"

Writer and critic Nikolai Akhsharumov, writing in Vsemirny Trud (#6, 1867) suggested that War And Peace was "neither a chronicle, nor a historical novel", but a genre merger, this ambiguity never undermining its immense value. Pavel Annenkov, who praised the novel too, was equally vague when trying to classify it. "The cultural history of one large section of our society, the political and social panorama of it in the beginning of the current century," was his suggestion. "It is the [social] epic, the history novel and the vast picture of the whole nation's life," wrote Ivan Turgenev in his bid to define War and Peace in the foreword for his French translation of "The Two Hussars" (published in Paris by Le Temps in 1875).
In general, the literary left received coldly the novel which, as they saw it, was totally devoid of social critique and keen on the idea of national unity. The major fault with the novel, being, as they saw it, "author's inability to portray a new kind of revolutionary intelligentsia in his novel," as critic Varfoomey Zaytsev put it. Articles by D.Minayev, V.Bervi-Flerovsky and N.Shelgunov in Delo magazine characterized the novel as "lacking realism", showing its characters as "cruel and rough", "mentally stoned", "morally depraved" and promoting "the philosophy of stagnation". Still, Mikhail Saltykov-Schedrin, who's never expressed his opinion of the novel publically, in the private conversation was reported to have expressed delight with "how strongly this Count has stung our higher society". Dmitry Pisarev in his unfinished article "Russian Gentry of Old" (Staroye barstvo, Otechestvennye Zapiski, #2, 1868) while praising Tolstoy's realism in portraying members of high society, still was unhappy with the way the author, as he saw it, 'idealized' the old nobility, expressing "unconscious and quite natural tenderness towards" the Russian dvoryanstvo. On the opposite front, the conservative press and "patriotic" authors (A.S.Norov and P.A.Vyazemsky among them) were accusing Tolstoy of consciously distorting the 1812 history, desecrating the "patriotic feelings of our fathers" and ridiculing dvoryanstvo.
One of the first comprehensive articles on the novel was that of Pavel Annenkov, published in #2, 1868 issue of Vestnik Evropy. The critic praised Tolstoy's masterful portrayal of man at war, marveled at the complexity of the whole composition, organically merging historical facts and fiction. "The dazzling side of the novel", according to Annenkov, was "the natural simplicity with which [the author] transports the worldly affairs and big social events down to the level of a character who witnesses them." Annekov thought the historical gallery of the novel was incomplete with the two "great raznotchintsys", Speransky and Arakcheev, and deplored the fact that the author stopped at introducing to the novel "this relatively rough but original element". In the end the critic called the novel "the whole epoch in the Russian fiction".
Slavophiles declared Tolstoy their 'bogatyr' and pronounced War and Peace "the Bible of the new national idea". Several articles on War And Peace were published in 1869-1870 in Zarya magazine by Nikolai Strakhov. "War and Peace is the work of genius, equal to everything that the Russian literature has produced before," he pronounced in the first, samller essay. "It is now quite clear that from 1868 when the War And Peace was published the very essence of what we call Russian literature has become quite different, acquired the new form and meaning," the critic continued later. Strakhov was the first critic in Russia who declared Tolstoy's novel to be a masterpiece of level previously unknown in Russian literature. Still, being a true Slavophile, he could not fail to see the novel as promoting the major Slavophiliac ideas of "meek Russian character'ss supremacy over the rapacious European kind" (using Apollon Grigoriev's formula). Years later, in 1878, discussing Strakhov's own book The World as a Whole, Tolstoy criticized both Grigoriev's concept (of "Russian meekness vs. Western bestiality") and Strakhov's interpretation of it.

Among the reviewers were military men and authors specializing in the war literature. Most assessed highly the artfulness and realism of Tolstoy's battle scenes. N.Lachinov, a member of the Russky Invalid newspaper stuff (#69, April 10, 1868) called the Battle of Schöngrabern scenes "bearing the highest degree of historical and artistic truthfulness" and totally agreed with the author's view on the Battle of Borodino which some of his opponents were disputing. The army general and respected military writer Mikhail Dragomirov in an article published in Oruzheiny Sbornik (The Military Almanac, 1868-1870), while disputing some of Tolstoy's ideas concerning the "spontaneity" of wars and the role of commander in battles, advised all the Russian Army officers to use War and Peace as their desk book, describing its battle scenes as "incomparable" and "serving for an ideal manual to every textbook on theories of military art."
Unlike professional literary critics, most prominent Russian writers of the time supported the novel wholeheartedly. Goncharov, Turgenev, Leskov, Dostoyevsky and Fet have all gone on record as declaring War and Peace the masterpiece of the Russian literature. Ivan Goncharov in a July 17, 1878, letter to Pyotr Ganzen advised him to chose for translating into Danish War and Peace, adding: "This is positively what might be called a Russian Ilyad. Embracing the whole epoch, it is the grandiose literary event, showcasing the gallery of great men painted by a lively brush of the great master... This is one of the most, if not the most profound literary work ever.  In 1879, unhappy with Ganzen having chosen Anna Karenina to start with, Goncharov insisted: "War and Peace is the extraordinary poem of a novel, both in content and execution. It also serves as a monument to Russian history's glorious epoch when whatever figure you take is a colossus, a statue in bronze. Even [the novel's] minor characters carry all the characteristic features of the Russian people and its life." In 1885, expressing satisfaction with the fact that Tolstoy's works have now been translated into Danish, Goncharov again stressed the immense importance of War and Peace. "Count Tolstoy really mounts over everybody else here [in Russia]," he remarked.
Fyodor Dostoyevsky (in a May 30, 1871, letter to Strakhov) described War and Peace as "the last word of the landlord's literature and the brilliant one at that". In a draft version of the Teenager novel he described Tolstoy as "a historiograph of the dvoryanstvo, or rather, its cultural elite." "The objectivity and realism impart wonderful charm to all scenes, and alongside people of talent, honour and duty he exposes numerous scoundrels, worthless goons and fools," he added. In 1876 Dostoyevsky wrote: "My strong conviction is that a writer of fiction has to have most profound knowledge - not only of the poetic side of his art, but also the reality he deals with, in its historical as well as contemporary context. Here [in Russia], as far as I see it, only one writer excels in this, Count Lev Tolstoy."
Nikolai Leskov, then an anonymous reviewer in Birzhevy Vestnik (The Stock Exchange Herald), wrote several articles praising highly War and Peace, calling it "the best ever Russian historical novel" and "the pride of the contemporary literature". Marveling at the realism and factual truthfulness of Tolstoy's book, Leskov thought the author deserved the special credit for "having lifted up the people's spirit upon the high pedestal it deserved". "While working most elaborately upon individual characters, the author, apparently, has been studying most diligently the character of the nation as a whole; the life of people whose moral strength came to be concentrated in the Army that came up to fight mighty Napoleon. In this respect the novel of Count Tolstoy could be seen as an epic of the Great national war which up until now has had its historians but never had its singers," Leskov wrote.
Afanasy Fet, in a January 1, 1870, letter to Tolstoy, expressed his great delight with the novel. "You've managed to show us in great detail the other, mundane side of life and explain how organically does it feed the outer, heroic side of it," he added. Ivan Turgenev gradually re-considered his initial skepticism as to the novel’s historical aspect and also the style of Tolstoy's psychological analysis. In his 1880 article written in the form of a letter addressed to Edmond Abou, the editor of the French newspaper Le XIX-e Siecle, Turgenev described Tolstoy as "the most popular Russian writer" and War and Peace as "one of the most remarkable books of our age". "This vast work has the spirit of an epic, where the life of Russia of the beginning of our century in general and in details has been recreated by the hand of a true master... The manner in which Count Tolstoy conducts his treatise is innovative and original. This is the great work of a great writer, and in it there’s true, real Russia," Turgenev wrote. It was largely due to Turgenev's efforts that the novel started to gain popularity with the European readership. The first French edition of the War and Peace (1879) paved the way for the worldwide success of Leo Tolstoy and his works.
Since then many world famous authors have praised War and Peace as a masterpiece of the world literature. Gustav Flaubert expressed his delight in a January 1880 letter to Turgenev, writing: "This is the first class work! What an artist and what a psychologist! The first two volumes are exquisite. I used to utter shrieks of delight while reading. This is powerful, very powerful indeed." Later John Galsworthy has called War and Peace "the best novel that had ever been written". Romain Rolland, remembering his reading the novel as a student, wrote: "this work, like life itself, has no beginning, no end. It is life itself in its eternal movement." Thomas Mann thought War and Peace to be "the greatest ever war novel in the history of literature." Ernest Hemingway confessed that it was from Tolstoy that he'd been taking lessons on how to "write about war in the most straightforward, honest, objective and stark way." "I don't know anybody who could write about war better than Tolstoy did," Hemingway asserted in his 1955 Men at War. The Best War Stories of All Time anthology.
Isaak Babel said, after reading War and Peace, "If the world could write by itself, it would write like Tolstoy." Tolstoy "gives us a unique combination of the 'naive objectivity' of the oral narrator with the interest in detail characteristic of realism. This is the reason for our trust in his presentation."

Film
The first Russian adaptation was Война и мир (Voyna i mir) in 1915, which was directed by Vladimir Gardin and starred Gardin and the Russian ballerina Vera Karalli. F. Kamei produced a version in Japan in 1947.
The 208-minute long American 1956 version was directed by King Vidor and starred Audrey Hepburn (Natasha), Henry Fonda (Pierre) and Mel Ferrer (Andrei). Audrey Hepburn was nominated for a BAFTA Award for best British actress and for a Golden Globe Award for best actress in a drama production.
The critically acclaimed Soviet version by the director Sergei Bondarchuk was released in four parts in 1966 and 1967. It starred Lyudmila Savelyeva (as Natasha Rostova) and Vyacheslav Tikhonov (as Andrei Bolkonsky). Bondarchuk himself played the character of Pierre Bezukhov. The series' length was some seven hours; it involved thousands of extras and took six years to finish the shooting, as a result of which the actors age changed dramatically from scene to scene. It won an Oscar for Best Foreign Language Film for its authenticity and massive scale. Bondarchuk's film is considered to be the best screen version of the novel. It attracted some controversy due to the number of horses killed during the making of the battle sequences and screenings were actively boycotted in several US cities by the ASPCA.
Television
War and Peace (1972): The BBC (British Broadcasting Corporation) made a television serial based on the novel, broadcast in 1972–73. Anthony Hopkins played the lead role of Pierre. Other lead characters were played by Rupert Davies, Faith Brook, Morag Hood, Alan Dobie, Angela Down and Sylvester Morand. This version faithfully included many of Tolstoy's minor characters, including Platon Karataev (Harry Locke).
La guerre et la paix (2000): French TV production of Prokofiev's opera War and Peace, directed by François Roussillon. Robert Brubaker played the lead role of Pierre.
War and Peace (2007): produced by the Italian Lux Vide, a TV mini-series in Russian & English co-produced in Russia, France, Germany, Poland and Italy. Directed by Robert Dornhelm, with screenplay written by Lorenzo Favella, Enrico Medioli and Gavin Scott. It features an international cast with Alexander Beyer playing the lead role of Pierre assisted by Malcolm McDowell, Clémence Poésy, Alessio Boni, Pilar Abella, J. Kimo Arbas, Ken Duken, Juozapas Bagdonas and Toni Bertorelli.
War and Peace (2015): On 18 February 2013, the BBC announced plans for a six-part adaptation of the novel to be scripted by Andrew Davies and aired on BBC One in 2015.
Opera
Initiated by a proposal of the German director Erwin Piscator in 1938, the Russian composer Sergei Prokofiev composed his opera War and Peace (Op. 91, libretto by Mira Mendelson) based on this epic novel during the 1940s. The complete musical work premiered in Leningrad in 1955. It was the first opera to be given a public performance at the Sydney Opera House (1973).
Theatre
The first successful stage adaptations of War and Peace were produced by Alfred Neumann and Erwin Piscator (1942, revised 1955, published by Macgibbon & Kee in London 1963, and staged in 16 countries since) and R. Lucas (1943).
A stage adaptation by Helen Edmundson, first produced in 1996 at the Royal National Theatre, was published that year by Nick Hern Books, London. Edmundson added to and amended the play for a 2008 production as two 3-hour parts by Shared Experience, directed by Nancy Meckler and Polly Teale. This was first put on at the Nottingham Playhouse, then toured in the UK to Liverpool, Darlington, Bath, Warwick, Oxford, Truro, London (the Hampstead Theatre) and Cheltenham.
A musical adaptation by OBIE Award-winner Dave Malloy, called Natasha, Pierre & The Great Comet of 1812 premiered at the Ars Nova theater in Manhattan on October 1, 2012. The show is described as an electropop opera, and is based on Book 8 of War and Peace, focusing on Natasha's affair with Anatole. 
Radio
The BBC Home Service broadcast an eight-part adaptation by Walter Peacock from 17 January to 7 February 1943 with two episodes on each Sunday. All but the last instalment, which ran for one and a half hours, were one hour long. Leslie Banks played Pierre while Celia Johnson was Natasha.
In December 1970, Pacifica Radio station WBAI broadcast a reading of the entire novel (the 1968 Dunnigan translation) read by over 140 celebrities and ordinary people.
A dramatised full-cast adaptation in 20 parts, edited by Michael Bakewell, was broadcast by the BBC. Transmission Times: 30.12.1969 to 12.5.1970 Cast included: David Buck, Kate Binchy, Martin Jarvis
A dramatised full-cast adaptation in ten parts was written by Marcy Kahan and Mike Walker in 1997 for BBC Radio 4. The production won the 1998 Talkie award for Best Drama and was around 9.5 hours in length. It was directed by Janet Whitaker and featured Simon Russell Beale, Gerard Murphy, Richard Johnson, and others.
Music
Composition by Nino Rota
Referring to album notes, the first track "The Gates of Delirium", from the album Relayer, by the progressive rock group Yes, is said to be based loosely on the novel.

Moby-Dick; or, The Whale is an 1851 novel by Herman Melville. Considered to be one of the Great American Novels and a treasure of world literature, the story tells the adventures of wandering sailor Ishmael, and his voyage on the whaleship Pequod, commanded by the brooding Captain Ahab. Ishmael soon learns that Ahab has one purpose on this voyage: to seek out and take revenge against Moby Dick, a ferocious, enigmatic white sperm whale that crippled him and destroyed his boat in a previous encounter.

Emma, by Jane Austen, is a novel about youthful hubris and the perils of misconstrued romance. The novel was first published in December 1815. As in her other novels, Austen explores the concerns and difficulties of genteel women living in Georgian-Regency England; she also creates a lively comedy of manners among her characters.
Before she began the novel, Austen wrote, "I am going to take a heroine whom no one but myself will much like." In the very first sentence she introduces the title character as "Emma Woodhouse, handsome, clever, and rich." Emma, however, is also rather spoiled, headstrong, and self-satisfied; she greatly overestimates her own matchmaking abilities; she is blind to the dangers of meddling in other people's lives, and her imagination and perceptions often lead her astray.

Emma Woodhouse, aged 20 at the start of the novel, is a young, beautiful, witty, and privileged woman in Regency England. She lives on the fictional estate of Hartfield in Surrey in the village of Highbury with her elderly widowed father, a hypochondriac who is excessively concerned for the health and safety of his loved ones. Emma's friend and only critic is the gentlemanly George Knightley, her neighbour from the adjacent estate of Donwell, and the brother of her elder sister Isabella's husband, John. As the novel opens, Emma has just attended the wedding of Miss Taylor, her best friend and former governess. Having introduced Miss Taylor to her future husband, Mr. Weston, Emma takes credit for their marriage, and decides that she rather likes matchmaking.
Against Mr. Knightley's advice, Emma forges ahead with her new interest, and tries to match her new friend Harriet Smith, a sweet, pretty, but none-too-bright parlour boarder of seventeen —described as "the natural daughter of somebody"— to Mr. Elton, the local vicar. Emma becomes convinced that Mr. Elton's constant attentions are a result of his attraction and growing love for Harriet.
But before events can unfold as she plans, Emma must first persuade Harriet to refuse an advantageous marriage proposal. Her suitor is a respectable, educated, and well-spoken young farmer, Robert Martin, but Emma snobbishly decides he isn't good enough for Harriet. Against her own wishes, the easily-influenced Harriet rejects Mr. Martin.
Emma's schemes go awry when Mr. Elton, a social climber, fancies Emma is in love with him and proposes to her. Emma's friends had suggested that Mr. Elton's attentions were really directed at her, but she had misread the signs. Emma, rather shocked and a bit insulted, tells Mr. Elton that she had thought him attached to Harriet; however Elton is outraged at the very idea of marrying the socially inferior Harriet. After Emma rejects Mr. Elton, he leaves for a while for a sojourn in Bath, and Harriet fancies herself heartbroken. Emma feels dreadful about misleading Harriet and resolves—briefly—to interfere less in people's lives.
Mr. Elton, as Emma's misconceptions of his character melt away, reveals himself to be arrogant, resentful, and pompous. He soon returns from Bath with a pretentious, nouveau-riche wife who becomes part of Emma's social circle, though the two women soon loathe each other. The Eltons treat the still lovestruck Harriet deplorably, culminating with Mr Elton very publicly snubbing Harriet at a dance. Mr Knightley, who had until this moment refrained from dancing, gallantly steps in to partner Harriet, much to Emma's gratification.
An interesting development is the arrival in the neighbourhood of the handsome and charming Frank Churchill, Mr. Weston's son, who had been given to his deceased wife's wealthy brother and his wife, the Churchills, to raise. Frank, who is now Mrs. Weston's stepson, and Emma have never met, but she has a long-standing interest in doing so. The whole neighborhood takes a fancy to him, with the partial exception of Mr. Knightley, who becomes uncharacteristically grumpy whenever his name is mentioned and suggests to Emma that while Frank is clever and engaging, he is also a rather shallow character.
A third newcomer is the orphaned Jane Fairfax, the reserved, beautiful, and elegant niece of Emma's impoverished neighbour, the talkative Miss Bates, who lives with her deaf, widowed mother. Miss Bates is an aging spinster, well-meaning but increasingly poor; Emma strives to be polite and kind to her, but is irritated by her constant chattering. Jane, very gifted musically, is Miss Bates' pride and joy; Emma envies her talent, and although she has known Jane all her life has never warmed to her personally. Jane had lived with Miss Bates until she was nine, but Colonel Campbell, a friend of her father's, welcomed her into his own home, where she became fast friends with his daughter and received a first-rate education. But now Miss Campbell has married, and the accomplished but penniless Jane has returned to her Bates relations, ostensibly to regain her health and to prepare to earn her living as a governess. Emma is annoyed to find the entire neighborhood, including Mrs. Weston and Mr. Knightley, singing Jane's praises, but when Mrs. Elton, who fancies herself the new leader of Highbury society, patronizingly takes Jane under her wing and announces that she will find her the ideal governess post, Emma begins to feel some sympathy for Jane's predicament.
Still, Emma sees something mysterious in Jane's sudden return to Highbury and imagines that Jane and Miss Campbell's husband, Mr. Dixon, were mutually attracted, and that is why she has come home instead of going to Ireland to visit them. She shares her suspicions with Frank, who had become acquainted with Jane and the Campbells when they met at a vacation spot a year earlier, and he apparently agrees with her. Suspicions are further fueled when a piano, sent by an anonymous benefactor, arrives for Jane.
Emma tries to make herself fall in love with Frank largely because almost everyone seems to expect it. Frank appears to be courting Emma, and the two flirt and banter together in public, at parties, and on a day-trip to Box Hill, a local beauty spot. However, when his demanding and ailing aunt, Mrs. Churchill, summons Frank home, Emma discovers she does not miss her "lover" nearly as much as she expected and sets about plotting a match between him and Harriet, who seems to have finally gotten over Mr. Elton. Harriet breathlessly reports that Frank has "saved" her from a band of Gypsies, and seems to be confessing her admiration for him. Meanwhile, Mrs. Weston wonders if Emma's old friend Mr. Knightley has taken a fancy to Jane. Emma immediately dismisses that idea and protests that she does not want Mr. Knightley to marry anyone, and that her little nephew Henry must inherit Donwell, the Knightley family property.
When Mr. Knightley scolds her for a thoughtless insult to Miss Bates, Emma is stunned and ashamed and tries to atone by going to visit Miss Bates. Mr. Knightley is surprised and deeply impressed by Emma's recognition of her wrongdoing, but this meaningful rapprochement is broken off when he announces he must leave for London to visit his brother. Meanwhile, Jane reportedly becomes ill, but refuses to see Emma or accept her gifts, and it is suddenly announced that she has accepted a governess position from one of Mrs. Elton's friends.
On the heels of this comes word that Frank Churchill's aunt has died, and with it the astonishing news that Frank and Jane have been secretly engaged since they first met on holiday a year ago. They had been keeping the engagement quiet because they knew that Frank's imperious aunt would disapprove and likely disinherit him if he went through with the match. The strain of the clandestine relationship had been much harder on the conscientious Jane than the carefree Frank, and the two had quarreled bitterly; but now that his aunt has died, his easygoing uncle has already given his blessing. The engagement becomes public, the secrets behind Jane and Frank's behavior are revealed, and Emma is chagrined to discover that once again she has been so wrong about so much.
Emma is certain that Harriet will be devastated by Frank's engagement, but Harriet reassures her that this is not the case. In fact, Harriet tells Emma, it is Mr. Knightley who has captured her heart, and she believes he returns her feelings. Emma is dumbstruck over what she at first thinks is the impropriety of the match, but as she faces her feelings of dismay and jealousy, she realizes in a flash that she has long been in love with Mr. Knightley herself. She is shattered to think that it may be too late and resolves to support her dear friends in whatever they do, even at the cost of her own broken heart. However, when Mr. Knightley hurries back to Highbury to console Emma over what he imagines to be the loss of Frank Churchill, she discovers that he is also in love with her. He proposes and she joyfully accepts.
There is one more match to be made: With encouragement from Mr. Knightley, the farmer Robert Martin proposes again to Harriet, and this time she accepts. Jane and Emma reconcile and all misunderstandings are cleared up before Jane and Frank leave for their wedding and life with his uncle in Yorkshire. Emma and Mr. Knightley decide that after their marriage they will live with Emma's father at Hartfield to spare Mr. Woodhouse loneliness and distress. They seem headed for a union of "perfect happiness," to the great joy of their friends. Mrs. Weston gives birth to a baby girl, to the great satisfaction of Emma, who looks forward to introducing little Miss Weston to her young nephews.

The story traces the life of David Copperfield from childhood to maturity. David was born in Blunderstone near Great Yarmouth, Suffolk, England, in 1820, six months after the death of his father. David spends his early years with his mother and their housekeeper, Peggotty. When he is seven years old, his mother re-marries Edward Murdstone. David is given good reason to dislike his stepfather and has similar feelings for Murdstone's sister Jane, who moves into the house soon afterwards. Murdstone thrashes David for falling behind in his studies. Following one of these thrashings, David bites him and soon afterwards is sent away to a boarding school, Salem House, with a ruthless headmaster, Mr. Creakle. There he befriends James Steerforth and Tommy Traddles. David returns home for the holidays to learn that his mother has given birth to a baby boy. Shortly after David returns to Salem House, his mother and her baby died and David returns home immediately. Peggotty marries a man named Mr Barkis. Murdstone sends David to work in a factory in London, of which Murdstone is a joint owner.[4] Copperfield's landlord, Wilkins Micawber, is sent to debtors' prison (the King's Bench Prison) and remains there for several months before being released and moving to Plymouth. No one remains to care for David in London, so he decides to run away. He walks from London to Dover, where he finds his only relative, his unmarried, eccentric aunt Betsey Trotwood. She agrees to raise him, despite Murdstone's attempt to regain custody of David. David's aunt renames him "Trotwood Copperfield" and addresses him as "Trot", and it becomes one of several names to which David answers in the course of the novel.

As David grows to adulthood, a variety of characters enter, leave, and re-enter his life. These include Peggotty and her family, including her orphaned niece "Little Em'ly", who moves in with them and charms the young David. David's romantic but self-serving school friend, Steerforth, seduces and dishonours Little Em'ly, precipitating the novel's greatest tragedy, and his landlord's daughter Agnes Wickfield, becomes his confidante. The novel's two most familiar characters are David's sometime mentor, the debt-ridden Micawber, and the devious and fraudulent clerk, Uriah Heep, whose misdeeds are eventually revealed with Micawber's assistance. Micawber is painted sympathetically even as the narrator deplores his financial ineptitude. Micawber, like Dickens' own father, is briefly imprisoned for insolvency. The major characters eventually get some measure of what they deserve, and few narrative threads are left hanging. Peggotty's brother Dan safely transports Emily to a new life in Australia, accompanied by the widowed Mrs. Gummidge and the Micawbers. All eventually find security and happiness in their adopted country. David marries the beautiful but naïve Dora Spenlow, who dies after failing to recover from a miscarriage early in their marriage. David then searches his soul and marries the sensible Agnes, who had always loved him and with whom he finds true happiness. David and Agnes then have at least four children, including a daughter named after his aunt Betsey Trotwood.

The Scarlet Letter is an 1850 romantic work of fiction in a historical setting, written by Nathaniel Hawthorne. It is considered to be his magnum opus. Set in 17th-century Puritan Boston, Massachusetts during the years 1642 to 1649, it tells the story of Hester Prynne, who conceives a daughter through an adulterous affair and struggles to create a new life of repentance and dignity. Throughout the book, Hawthorne explores themes of legalism, sin, and guilt.

In June 1642, in the Puritan town of Boston, a crowd gathers to witness an official punishment. A young woman, Hester Prynne, has been found guilty of adultery and must wear a scarlet A on her dress as a sign of shame. Furthermore, she must stand on the scaffold for three hours, exposed to public humiliation. As Hester approaches the scaffold, many of the women in the crowd are angered by her beauty and quiet dignity. When demanded and cajoled to name the father of her child, Hester refuses.
As Hester looks out over the crowd, she notices a small, misshapen man and recognizes him as her long-lost husband, who has been presumed lost at sea. When the husband sees Hester's shame, he asks a man in the crowd about her and is told the story of his wife's adultery. He angrily exclaims that the child's father, the partner in the adulterous act, should also be punished and vows to find the man. He chooses a new name — Roger Chillingworth — to aid him in his plan.
Reverend John Wilson and the minister of her church, Arthur Dimmesdale, question Hester, but she refuses to name her lover. After she returns to her prison cell, the jailer brings in Roger Chillingworth, a physician, to calm Hester and her child with his roots and herbs. Dismissing the jailer, Chillingworth first treats Pearl, Hester's baby, and then demands to know the name of the child's father. When Hester refuses, he insists that she never reveal that he is her husband. If she ever does so, he warns her, he will destroy the child's father. Hester agrees to Chillingworth's terms even though she suspects she will regret it.
Following her release from prison, Hester settles in a cottage at the edge of town and earns a meager living with her needlework. She lives a quiet, somber life with her daughter, Pearl. She is troubled by her daughter's unusual character. As an infant, Pearl is fascinated by the scarlet A. As she grows older, Pearl becomes capricious and unruly. Her conduct starts rumors, and, not surprisingly, the church members suggest Pearl be taken away from Hester.
Hester, hearing the rumors that she may lose Pearl, goes to speak to Governor Bellingham. With him are Reverends Wilson and Dimmesdale. When Wilson questions Pearl about her catechism, she refuses to answer, even though she knows the correct response, thus jeopardizing her guardianship. Hester appeals to Reverend Dimmesdale in desperation, and the minister persuades the governor to let Pearl remain in Hester's care.
Because Reverend Dimmesdale's health has begun to fail, the townspeople are happy to have Chillingworth, a newly arrived physician, take up lodgings with their beloved minister. Being in such close contact with Dimmesdale, Chillingworth begins to suspect that the minister's illness is the result of some unconfessed guilt. He applies psychological pressure to the minister because he suspects Dimmesdale to be Pearl's father. One evening, pulling the sleeping Dimmesdale's vestment aside, Chillingworth sees something startling on the sleeping minister's pale chest: a scarlet A.
Tormented by his guilty conscience, Dimmesdale goes to the square where Hester was punished years earlier. Climbing the scaffold, he sees Hester and Pearl and calls to them to join him. He admits his guilt to them but cannot find the courage to do so publicly. Suddenly Dimmesdale sees a meteor forming what appears to be a gigantic A in the sky; simultaneously, Pearl points toward the shadowy figure of Roger Chillingworth. Hester, shocked by Dimmesdale's deterioration, decides to obtain a release from her vow of silence to her husband. In her discussion of this with Chillingworth, she tells him his obsession with revenge must be stopped in order to save his own soul.
Several days later, Hester meets Dimmesdale in the forest, where she removes the scarlet letter from her dress and identifies her husband and his desire for revenge. In this conversation, she convinces Dimmesdale to leave Boston in secret on a ship to Europe where they can start life anew. Renewed by this plan, the minister seems to gain new energy. Pearl, however, refuses to acknowledge either of them until Hester replaces her symbol of shame on her dress.
Returning to town, Dimmesdale loses heart in their plan: He has become a changed man and knows he is dying. Meanwhile, Hester is informed by the captain of the ship on which she arranged passage that Roger Chillingworth will also be a passenger.
On Election Day, Dimmesdale gives what is declared to be one of his most inspired sermons. But as the procession leaves the church, Dimmesdale stumbles and almost falls. Seeing Hester and Pearl in the crowd watching the parade, he climbs upon the scaffold and confesses his sin, dying in Hester's arms. Later, witnesses swear that they saw a stigma in the form of a scarlet A upon his chest. Chillingworth, losing his revenge, dies shortly thereafter and leaves Pearl a great deal of money, enabling her to go to Europe with her mother and make a wealthy marriage.
Several years later, Hester returns to Boston, resumes wearing the scarlet letter, and becomes a person to whom other women turn for solace. When she dies, she is buried near the grave of Dimmesdale, and they share a simple slate tombstone with a scarlet A.

The experience of Hester and Dimmesdale recalls the story of Adam and Eve because, in both cases, sin results in expulsion and suffering. But it also results in knowledge—specifically, in knowledge of what it means to be immoral. For Hester, the scarlet letter functions as "her passport into regions where other women dared not tread", leading her to "speculate" about her society and herself more "boldly" than anyone else in New England.
As for Dimmesdale, the "cheating minister", his sin gives him "sympathies so intimate with the sinful brotherhood of mankind, so that his chest vibrate in unison with theirs." His eloquent and powerful sermons derive from this sense of empathy. The narrative of the Reverend Arthur Dimmesdale is quite in keeping with the oldest and most fully authorized principles in Christian thought. His "Fall" is a descent from apparent grace to his own damnation; he appears to begin in purity but he ends in corruption. The subtlety is that the minister's belief is his own cheating, convincing himself at every stage of his spiritual pilgrimage that he is saved.
The rose bush, its beauty a striking contrast to all that surrounds it—as later the beautifully embroidered scarlet A will be–is held out in part as an invitation to find "some sweet moral blossom" in the ensuing, tragic tale and in part as an image that "the deep heart of nature" (perhaps God) may look more kind on the errant Hester and her child than her Puritan neighbors do. Throughout the work, the nature images contrast with the stark darkness of the Puritans and their systems.
Chillingworth's misshapen body reflects (or symbolizes) the anger in his soul, which builds as the novel progresses, similar to the way Dimmesdale's illness reveals his inner turmoil. The outward man reflects the condition of the heart; an observation thought to be inspired by the deterioration of Edgar Allan Poe, whom Hawthorne "much admired".
Although Pearl is a complex character, her primary function within the novel is as a symbol. Pearl herself is the embodiment of the scarlet letter, and Hester rightly clothes her in a beautiful dress of scarlet, embroidered with gold thread, just like the scarlet letter upon Hester's bosom.

Another theme is the extreme legalism of the Puritans and how Hester chooses not to conform to their rules and beliefs. Hester was rejected by the villagers even though she spent her life doing what she could to help the sick and the poor. Because they rejected her, she spent her life mostly in solitude, and wouldn't go to church. As a result, she retreats into her own mind and her own thinking. Her thoughts begin to stretch and go beyond what would be considered by the Puritans as safe or even Christian. She still sees her sin, but begins to look on it differently than the villagers ever have. She begins to believe that a person's earthly sins don't necessarily condemn them. She even goes so far as to tell Dimmesdale that their sin has been paid for by their daily penance and that their sin won't keep them from getting to heaven, however, the Puritans believed that such a sin surely condemns. But Hester had been alienated from the Puritan society, both in her physical life and spiritual life. When Dimmesdale dies, she knows she has to move on because she can no longer conform to the Puritans' strictness. Her thinking is free from religious bounds and she has established her own different moral standards and beliefs.

It was long thought that Hawthorne originally planned The Scarlet Letter to be a shorter novelette which was part of a collection to be named Old Time Legends and that his publisher, James Thomas Fields, convinced him to expand the work to a full-length novel. This is not true: Fields persuaded Hawthorne to publish The Scarlet Letter alone (along with the earlier-completed "Custom House" essay) but he had nothing to do with the length of the story. Hawthorne's wife Sophia later challenged Fields' claims a little inexactly: "he has made the absurd boast that he was the sole cause of the Scarlet Letter being published!" She noted that her husband's friend Edwin Percy Whipple, a critic, approached Fields to consider its publication. The manuscript was written at the Peter Edgerley House in Salem, Massachusetts, still standing as a private residence at 14 Mall Street. It was the last Salem home where the Hawthorne family lived.
The Scarlet Letter was published as a novel in the spring of 1850 by Ticknor & Fields, beginning Hawthorne's most lucrative period. When he delivered the final pages to Fields in February 1850, Hawthorne said that "some portions of the book are powerfully written" but doubted it would be popular. In fact, the book was an instant best-seller though, over fourteen years, it brought its author only $1,500. Its initial publication brought wide protest from natives of Salem, who did not approve of how Hawthorne had depicted them in his introduction "The Custom-House". A 2,500-copy second edition of The Scarlet Letter included a preface by Hawthorne dated March 30, 1850, that stated he had decided to reprint his introduction "without the change of a word... The only remarkable features of the sketch are its frank and genuine good-humor... As to enmity, or ill-feeling of any kind, personal or political, he utterly disclaims such motives".
The Scarlet Letter was also one of the first mass-produced books in America. Into the mid-nineteenth century, bookbinders of home-grown literature typically hand-made their books and sold them in small quantities. The first mechanized printing of The Scarlet Letter, 2,500 volumes, sold out within ten days, and was widely read and discussed to an extent not much experienced in the young country up until that time. Copies of the first edition are often sought by collectors as rare books, and may fetch up to around $18,000 USD.

On its publication, critic Evert Augustus Duyckinck, a friend of Hawthorne's, said he preferred the author's Washington Irving-like tales. Another friend, critic Edwin Percy Whipple, objected to the novel's "morbid intensity" with dense psychological details, writing that the book "is therefore apt to become, like Hawthorne, too painfully anatomical in his exhibition of them". Most literary critics praised the book but religious leaders took issue with the novel's subject matter. Orestes Brownson complained that Hawthorne did not understand Christianity, confession, and remorse. A review in The Church Review and Ecclesiastical Register concluded the author "perpetrates bad morals."
 Henry James once said of the novel, "It is beautiful, admirable, extraordinary; it has in the highest degree that merit which I have spoken of as the mark of Hawthorne's best things--an indefinable purity and lightness of conception...One can often return to it; it supports familiarity and has the inexhaustible charm and mystery of great works of art."
The book's immediate and lasting success are due to the way it addresses spiritual and moral issues from a uniquely American standpoint. In 1850, adultery was an extremely risqué subject, but because Hawthorne had the support of the New England literary establishment, it passed easily into the realm of appropriate reading. It has been said that this work represents the height of Hawthorne's literary genius, dense with terse descriptions. It remains relevant for its philosophical and psychological depth, and continues to be read as a classic tale on a universal theme.

The following are historical and Biblical references that appear in The Scarlet Letter.
Anne Hutchinson, mentioned in Chapter 1, The Prison Door, was a religious dissenter (1591–1643). In the 1630s she was excommunicated by the Puritans and exiled from Boston and moved to Rhode Island.
Ann Hibbins, who historically was executed for witchcraft in Boston in 1656, is depicted in The Scarlet Letter as a witch who tries to tempt Prynne to the practice of witchcraft.
Richard Bellingham, who historically was the governor of Massachusetts and deputy governor at the time of Hibbins's execution, was depicted in The Scarlet Letter as the brother of Ann Hibbins.
Martin Luther (1483–1545) was a leader of the Protestant Reformation in Germany.
Sir Thomas Overbury and Dr. Forman were the subjects of an adultery scandal in 1615 in England. Dr. Forman was charged with trying to poison his adulterous wife and her lover. Overbury was a friend of the lover and was perhaps poisoned.
John Winthrop (1588–1649), second governor of the Massachusetts Bay Colony.
King's Chapel Burying Ground, mentioned in the final paragraph, exists; the Elizabeth Pain gravestone is traditionally considered an inspiration for the protagonists' grave.
The story of King David and Bathsheba is depicted in the tapestry in Mr. Dimmesdale's room (chapter 9). (See II Samuel 11-12 for the Biblical story.)

The Scarlet Letter has been adapted to numerous films, plays and operas and remains frequently referenced in modern popular culture. The Scarlet Letter was also the basis for the 2010 film Easy A, the story of Olive Penderghast (Emma Stone) who experiences the same isolation Hester Prynne undergoes in the novel, but in a reversed way. In the film, she was originally singled out for being the only virgin girl on campus, and becomes popular after she tells the school that she had sex with a homosexual male classmate, who was also picked on for his sexuality. The plot of the novel The Brooklyn Follies by Paul Auster revolves around the manuscript of The Scarlet Letter.