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related to this article: Love and Freindship Love and Friendship [sic] is a juvenile story by Jane Austen, dated 1790. From t he age of eleven until she was eighteen, Jane Austen wrote her tales in three no tebooks. The notebooks still exist one in the Bodleian Library; the other two in the British Museum. They include among others Love and Freindship, written when Jane was fourteen, and The History of England, when she was fifteen. Written in epistolary form, like her later unpublished novella, Lady Susan, Love and Freindship is thought to be one of the tales she wrote for the amusement of her family. The installments, written as letters from the heroine Laura, to Mar ianne, the daughter of her friend, Isabel, "La Comtesse de Feuillide", may have come about as nightly readings by the young Jane in the Austen home. Love and Fr eindship (the misspelling is one of many in the story) is clearly a parody of ro mantic novels Austen read as a child. This is clear even from the subtitle, "Dec eived in Freindship and Betrayed in Love", which completely undercuts the title. In form, it resembles a fairy tale as much as anything else, featuring wild coin cidences and turns of fortune, but Austen is determined to lampoon the conventio ns of romantic stories, right down to the utter failure of romantic fainting spe lls, which always turn out badly for the female characters. In this story one can see the development of Austen's sharp wit and disdain for romantic sensibility, so characteristic of her later novels. Contents 1 Synopsis 2 Conclusions 3 References 4 External links [edit] SynopsisLetter The First From Isabel to Laura The first letter presents the reader with a glimpse into the life of Laura from Isabel s perspective. Isabel asks Laura to tell the misfortunes and adventures of he r life to Isabel s daughter Marianne (Austen 516). Isabel argues that because Laur a is turning fifty-five, she is past the danger of disagreeable lovers and obstinat e fathers (Austen 516). This initial letter sets up the rest of Austen s narrative through Laura s letters to Marianne. Letter The Second Laura to Isabel The second letter consists of a reply from Laura to Isabel. Laura initially disa grees with Isabel s assessment that she is safe from misfortunes simply because of h er advanced age (Austen 516). Laura agrees to write to Marianne and detail her l ife experiences in order to satisfy the curiosity of Marianne and to teach her use ful lessons (Poplawski 183). The useful lessons are lessons learned from the mis fortunes caused by disagreeable lovers and obstinate fathers (Poplawski 183). Poplaw ski highlights the importance of the relationship between females and their love rs and also between females and their fathers as a means through which Austen is able to criticize stereotypical female behaviors. As seen throughout the work, these two relationships are constantly criticized by satirical anecdotes. Janett a s relationship with her father and also with her lover, Capitan M Kenzie in the tw elfth letter provides a good example of the way Austen mocks the fickleness of f

amilial ties and romantic relationships. Letter The Third Laura to Marianne Laura s narrative to Marianne begins in the third letter and continues through the fifteenth letter. In the thirteenth letter, Laura gives a brief overview of the origins of her parents, her birth in Spain, and her education in a convent in F rance. At eighteen, Laura returns to her parents home in Wales. Laura pauses to d escribe herself at this age. She emphasizes her accomplishments which during this time period would have been things that made a woman a better companion for her future husband (Austen 516). Laura ends the letter by posing the idea that her m isfortunes in life do not make less impression than they ever did, but that her acc omplishments have begun to fade (Austen 517). The uncertainty of Laura s memory ca uses Austen s work to resemble a fairytale in that that both Austen s work and fairy tales have similar qualities of ambiguity. Letter The Fourth Laura to Marianne It is in the fourth letter that Austen reveals to her audience the connection be tween Laura and Isabel. Laura tells Marianne in the fourth letter that Isabel wa s one of her few neighbors in Wales and that Isabel resided in the neighborhood because of indigent circumstances and economic motives (Austen 517). Laura depicts I sabel as having less accomplishments and beauty than herself, but being better t ravelled. Isabel warns Laura of the insipid vanities and idle dissipations of Lond on, Bath and Southampton, while at the same time instilling Laura with the desir e to explore the world (Austen 517). Letter The Fifth Laura to Marianne In the fifth letter, Laura recalls a night in December when a strange man and hi s servant, who were lost, stopped at her home in need of shelter. Upon hearing a knock at their door, Laura and her family converse about the character of the k nock and the knocker s intention. Laura depicts her initial attraction to the youn g gentleman, claiming him to be the most beauteous and amiable youth she had ever seen (Austen 518). Austen s character Laura s instant and undying attachment to the st ranger mocks the romantic notion of friendship as an overused clich (Deresiewicz 103). Deresiewicz brings to light Austen s satirical view of love and friendship b y illuminating the idea that romantic notions of these themes are oversimplified and stereotypical. Letter The Sixth Laura to Marianne The sixth letter consists of a dialogue in which the stranger, named Lindsay, te lls Laura and her family about his experiences prior to arriving at their house. Coming from an aristocratic family, Lindsay, referred to as Edward, describes h is father as seduced by the false glare of fortune and the deluding pomp of title (Austen 518). His father wanted Lindsay to marry Lady Dorothea but Edward refuse d because he did not want to oblige his father. Thus Edward embarked on a journe y to his aunt s house but, having gone in the wrong direction, ended up at Laura s h ouse instead. The letter ends with the hasty marriage of Edward and Laura perfor med by her father which mocks the sensibility of Austen s characters (Sahney 130). Sahney s analysis shows how Austen s views of sensibility differed from those of th e romantic novels she has likely read in youth. While sensibility may have been a value that was pushed upon women of Austen s time period, Sahney makes the point that Austen s use of exaggerated hasty decision making in her novels shows Austen s understanding of the romantic notion of sensibility as a myth.

Letter The Seventh Laura to Marianne In the seventh letter, Laura and Edward travel to his aunt s house in Middlesex. E dward s marriage to Laura is a surprise to his aunt and also to Edward s sister Augu sta. Laura notes the disagreeable coldness and forbidding reserve with which Augus ta greets her (Austen 519). Laura overhears a conversation between Augusta and E dward in which Augusta expresses concern about Edward s imprudent marriage and conse quentially, their father s reaction (Austen 520). A discourse ensues in which Edwa rd and Augusta work out just how many years Edward has been defying his father. It is through Edward and Augusta s dialogue that Austen is able to question the mo tives of romantic sentimentality (Southam 26). Lady Dorothea briefly visits and Laura does not take kindly to her. Letter The Eighth Laura to Marianne, in continuation After Lady Dorothea leaves, Sir Edward unexpectedly visits. Knowing Sir Edward c ame to admonish Edward for his marriage to Laura, Edward, with heroic fortitude, d efends his marriage (Austen 521). Edward says it is his, greatest boast to have di spleased his father. Again Austen mocks the romantic motives of Edward and Laura s marriage (Austen 521). At once Edward and Laura take Sir Edwards carriage and t ravel to the home of Edward s friend Augustus who is married to Sophia. Upon meeti ng Sophia, Laura praises Sophia s, sensibility and feeling, as positive characterist ics of her mind (Austen 521). The two women instantly vow to be friends forever an d share their deepest secrets (Austen 521). Edward and Augustus create and affect ing scene when they meet causing both Sophia and Laura to faint alternately on the couch (Austen 521). By using the words instantly and alternately, Austen shows her m astery of language and the ability of these words to serve as adverbs and also t o function satirically (Lambdin 185-186). Letter The Ninth From the same to the same Laura and Edward receive a letter from Philippa saying that Sir Edward and Augus ta went back to Bedfordshire abruptly after the married couple departed. Philipp a also desires to see Edward and Laura again and asks them to return after their visit with Augustus and Sophia. A few weeks later Philippa is married to a fort une-hunter and Laura and Edward remark at the imprudence and insensibility of he r decision. Laura recounts how perfect and happy their stay was with Sophia and Augustus until Augustus is arrested for unpaid debts. Augustus and Sophia had al so defied their parents and Augustus had run out of the money he had taken from his father escritoire when he left to marry Sophia. Laura describes Augustus s arr est as treachery and barbarity (Austen 522). With Augustus facing an execution in th e House, Laura, Edward, and Sophia do the only thing they can do. They sigh and faint on the sofa. The theme of rebellion and revolution reappears throughout Au sten s work and can be considered conventional (Copeland 92). Letter The Tenth Laura in continuation After Laura, Sophia and Edward recover, Edward sets off to town to see his impri soned friend. Laura and Sophia have a mature deliberation and decide to leave the house before the Officers of Justice take possession (Austen 523). They wait for Edward who doesn t return. After fainting, Laura decides to take Sophia and set o ut for London to see Augustus. Once in London, Laura asks every person they pass If they had seen Edward, but can get no replies since the carriage they are riding in is moving too quickly (Austen 523). Sophia tells Laura that seeing Augustus i n distress would overpower [her] sensibility, especially since hearing of his misf

ortune is already shocking (Austen 523). So Laura and Sophia resolve to return t o the country. Laura then tells Marianne that her mind never wandered to thought s of her parents, who she forgot to mention had passed away two weeks after she left their cottage. Letter The Eleventh Laura in continuation Sophia and Laura decide to travel to Scotland to stay with a relation of Sophia s. At first they are hesitant because they aren t sure the horses will be able to ma ke the journey, but they resolve to change horses are the next town and continue the journey. At an inn a few miles from Sophia s relation, they decide to stop. N ot wanting to intrude and arrive unannounced, the women write an elegant letter detailing their misfortunes and desire to stay with the relative. As soon as the y send the letter, they begin to step into their own carriage to follow right be hind it. At that moment, another coach arrives and an elderly gentleman emerges and goes into the inn. Laura is overwhelmed with the feeling that this person is her grandfather so she throws herself to her knees in front of him and begs him to acknowledge their relation. He exclaims that she is in fact his granddaughte r. Sophia then enters and the elderly man exclaims that Sophia is also his grand daughter descended from another of his daughters. As they are all hugging, a you ng man appears and the elderly man, Lord St. Clair, claims he is also one of his grandchildren. Another youth comes into the room and exclaims that he is the gr andchild of Lord St. Clair s fourth daughter. Lord St. Clair writes each of the fo ur grandchildren banknotes and immediately leaves. Letter The Twelfth Laura in continuation After Lord St. Clair leaves, Laura and Sophia faint. When they wake up, both of the male grandchildren are gone and so are Sophia and Laura s banknotes. Sophia s co usin, Macdonald, who they first perceive as amiable and sympathetic, offers to t ake them to Macdonald-Hall. They ride with Macdonald s daughter Janetta who is to be wed to Graham, a man Macdonald has chosen, once they return to Macdonald-Hall . Laura and Sophia see through Macdonald s character and no longer perceive him as well disposed. Laura and Sophia decide Graham is not fit to marry Janetta becau se Graham has no soul, hasn t read The Sorrows of Werter, and does not have auburn hair (Austen 525). Laura and Sophia ask Janetta if she has ever felt affection for Graham or any other man and soon convince Janetta of her love for a man name d Captain M Kenzie. After analyzing Captain M Kenzie s actions concerning Janetta, Lau ra and Sophia declare that he must be in love with Janetta despite overwhelming evidence. They conclude to write Captain M Kenzie a letter encouraging him to conf ess his attachment to Janetta and secretly marry her. Captain M Kenzie replies tha t it was only modesty which kept him from acting sooner and thus Janetta and M Ken zie leave for Gretna-Green to celebrate their nuptials. Austen s continuous ridicu le of love at first sight expresses skepticism about the spontaneous feelings an d the truth or lack of truth which those feelings possess (Walder 229). Letter The Thirteenth Laura in continuation In this letter, Sophia finds banknotes in a private drawer in Macdonald s library. Laura and Sophia plan to take a banknote or two each time they pass through the room because it would be proper treatment for so vile a wretch (Austen 527). Howe ver, on the day that Janetta escapes, Sophia is caught by Macdonald in the act o f stealing his money. Macdonald verbally reprimands Sophia and in response she i nforms him of Janetta s elopement as revenge. Laura enters into the library and bo th women are offended by Macdonald s ill-grounded accusations (Austen 527). Macdonal d tells the women they must leave in half an hour and Laura and Sophia agree to do just that. The women leave. After walking a mile or so, they settle next to s

tream to rest. While sitting, Sophia distresses over the situation Augustus was in when they left. On the road near where they are sitting, an accident causes a gentleman s phaeton to overturn. Laura and Sophia rush to help and discover it is Edward and Augustus on the ground bleeding. Sophia faints and Laura shrieks and runs mad. After more than an hour, Edward regains consciousness and Laura asks what has happened since Augustus was taken to jail. Edward says he will, but the n, after a deep sigh, dies. The women again go mad and a while latter finally wa lk to a white cottage. A widow leads them into her house where Sophia and Laura meet her daughter Bridget. Letter The Fourteenth Laura in continuation The morning after, Sophia complains of severe pain in her limbs. Gradually, the pain got worse and it turned into a galloping consumption or tuberculosis (Austen 530). As Sophia dies, she tells Laura that she dies a, martyr to [her] grief for the loss of Augustus (Austen 531). Sophia dies, and Laura takes to walking out of the village. She gets into a stagecoach which she determines to take to Edinbur gh. As it is dark when she gets into the carriage, Laura does not know who she r ides with and becomes upset that the travelers in the carriage have not spoken t o her. At daylight, she realizes she is traveling with Sir Edward, Augusta, Lady Dorothea, Philippa, Philander and Gustavus. After Laura tells that Edward is de ad, Augusta realizes she is the heiress of Sir Edward s fortunes. Letter The Fifteenth Laura in continuation The stagecoach stops so the travelers can eat breakfast. Laura seeks out Philand er and Gustavus to eat breakfast and talk with, but does not ask about the bankn otes that disappeared in their presence. At fifteen, Philander and Gustavus took nine hundred pounds and ran away. They divided the money into nice parcels to b e spent on various things. They went to London and spent the money in seven week s. They joined a stage and began performing in plays. Philander and Gustavus wen t to their grandfather for money and left once they had obtained the banknotes. The journey continues to Edinburgh. Sir Edward decides to give Laura four hundre d pounds a years because she is the widow of his son. Laura moves to the Highlan ds of Scotland and lives in melancholy solitude mourning the death of her family, husband, and friend (Austen 534). Augusta marries Graham. Sir Edward marries Lad y Dorothea in hopes of gaining her estate. Philander and Gustavus moved to Coven t Garden and perform under the names Lewis and Quick. Philippa s husband continues to drive the stagecoach from Edinburgh to Sterling. [edit] ConclusionsIn conclusion, a close reading of Austen s work allows the reade r to understand and appreciate Austen s method of pointing out the flaws of previo us romantic views of love and friendship through satirical representations of an ecdotes within the story. To offer an evaluation of the work as a whole, it is e vident that Austen weaves a multitude of wild coincidences and effectively cause s the reader to enter into discourse with Austen s work on the notion of romantic sensibilities. [edit] ReferencesAusten, Jane. Love and Freindship. The Norton Anthology of Englis h Literature. Ed. Lynch, Deidre Shauna, and Stillinger, Jack. New York: W.W.Nort on & Company, 2006. Copeland, Edward and McMaster, Juliet. The Cambridge Companion to Jane Austen. C ambridge: Cambridge University Press, 1997. Deresiewicz, William. Jane Austen and the Romantic Poets. New York: Columbia Uni versity Press, 2004 Lambdin, Laura C., and Lambdin, Robert T. A Companion to Jane Austen Studies. We stport: Greenwood Press, 2000. Poplawski, Paul. A Jane Austen Encyclopedia. West Port: Greenwood Press, 1998.

Sahney, Reeta. Jane Austen's Heroes and Other Male Characters: A Sociological St udy. New Delhi: Abhinav Publications, 1990. Southam, Brian C. Jane Austen's Literary Manuscripts: A Study of the Novelist's Development. New York: The Athlone Press, 2001. Walder, Dennis. The Realist Novel. New York: The Open University, 1995. [edit] External linksLove and Friendship, A novel in a series of Letters: "Decei ved in Friendship and Betrayed in Love." Love and Friendship at Project Gutenberg

[hide]v d eJane Austen General Life Jane Austen Timeline of Jane Austen A Memoir of Jane Austen Chawton House Eliza Hancock Chawton House Catherine Hu

Places Jane Austen Centre Library

Jane Austen's House Museum Francis Austen

People Cassandra Austen Charles Austen bback Thomas Langlois Lefroy

Analysis Janeite Jane Austen in popular culture Styles and themes of Jane Austen Georgian society in Jane Austen's novels Reception history of Jane Austen Works Major Sense and Sensibility (1811) Pride and Prejudice (1813) 14) Emma (1815) Northanger Abbey (1817) Persuasion (1817) Minor Lady Susan Sanditon (unfinished) Mansfield Park (18

The Watsons (unfinished) The History of England

Juvenilia Love and Freindship

The Beautifull Cassandra

Characters Elinor Dashwood Edward Ferrars Marianne Dashwood John Willoughby Eliz abeth Bennet Fitzwilliam Darcy Jane Bennet Lydia Bennet Charles Bingley Fann y Price Edmund Bertram Mary Crawford Henry Crawford Tom Bertram Maria Bertram E ma Woodhouse George Knightley Anne Elliot Captain Frederick Wentworth Catherine Morland Henry Tilney Adaptations Sense and Sensibility 1981 TV miniseries Sensibility and Sea Monsters (2009 novel) 1995 film 2008 TV miniseries From Prada to Nada (2011 film) Sense and

Pride and Prejudice 1940 film First Impressions (1959 musical) 1980 TV miniserie s 1995 TV miniseries Darcy's Story (1995 novel) Pride & Prejudice: A Latter-Day Comedy (2003 film) Mr. Darcy's Daughters (2003 novel) An Assembly Such as This ( 2003 novel) Duty and Desire (2004 novel) These Three Remain (2005 novel) Bride a nd Prejudice (2004 film) 2005 film Pride and Prejudice and Zombies (2009 parody novel) Pride and Prejudice and Zombies: Dawn of the Dreadfuls (2010 parody novel ) Mansfield Park 1983 TV miniseries 1999 film 2007 TV miniseries 1996 film 1996 TV miniseries 2009 T

Emma 1972 TV miniseries Clueless (1995 film) V miniseries Aisha (2009 film)

Northanger Abbey 1986 TV miniseries Persuasion 1960 TV miniseries

2007 TV miniseries 1995 film 2007 TV miniseries

1971 TV miniseries

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