The Merits and Happiness of Elinor and Marianne

"Between Barton and Delaford, there was that constant communication which strong family affection would naturally dictate;-- and among the merits and the happiness of Elinor and Marianne, let it not be ranked as the least considerable, that though sisters, and living almost within sight of each other, they could live without disagreement between themselves, or producing coolness between their husbands. " (Volume 3, Chapter 14)

Thus ends Sense and Sensibility. So much happens within the pages of that novel, from the opening sentence, "The Dashwood family had long been settled in Sussex," to that final line. The sisters fight, become closer friends, gain and loose love interests, get married, move homes (twice), and live in London. That is a lot to happen to young women with such delicate sensibilities. The novel is adeptly named.

I think that I now have a much deeper understanding of her style, and her ability to make you laugh, and then recall the gravity of the situation. In Sense and Sensibility I felt a wide range of emotions, and even though I knew the story well before I started reading it again, I still found myself cheering for their individual victories, and grieving for their tribulations. Even though it was not new, it was meaningful, and I felt drawn in.

I find that I like the relationship between Elinor and Edward more when viewed in light of his past entanglements. He and Lucy were dysfunctional, and she was attracted to him for reasons other than love. Look at how easily she switched to being engaged to his younger brother. Similarly, the potential engagement between him and Miss Morton was based of status and money. His relationship with Elinor is based on an understanding of love and friendship, rather than being for pomp and ceremony. Elinor is the only one of his 'women', if you will, that loves him unconditionally, with no strings attached.

I also like the fact that Austen emphasised her belief that love can come over time, and is not always an instantaneous reaction. This is demonstrated in the growing love between Marianne and Colonel Brandon by the end. I like the fact that Marianne waits for a while before jumping into a relationship with Brandon. She says that she does have feelings, and is in no doubt of them, but knows that it will grow stronger with time, and because it is true, can wait until she is ready to be married. Good thing too, because she is 17.

I have started Pride and Prejudice, and an introduction to the novel will come shortly. The night that I finished S&S, I read the first chapter or so, but I put it aside. I found that they had very different styles, and it was a little shell shocking to transition between the two of them so quickly. Sense and Sensibility is not as deliberately humorous as Pride and Prejudice, and the ending of S&S had a sense of joyful solemnity that had disappeared by the first few lines of Pride and Prejudice. I have put it aside until I have wrapped things up with her first novel .

Adieu to Sense and Sensibility. I hope that I can read you again soon.

Laughter with Cause

"He expressed great pleasure in meeting Elinor, told her that he had just been going to call in Berkeley-street, and assuring her that Fanny would be very glad to see her, invited her to come in. They walked up stairs into the drawing room. - Nobody was there." (Volume III, Chapter 5)


I am always amazed at Jane Auten's ability to great strong and moral characters in her novels, such as Jane Bennet, Anne Elliot, and Henry Tillney. More amazing to me, though, is her ability to conjure up the ridiculous and diverse personalities to contrast the Anne Elliot's in her novels. By this I mean the hypochondriacs and the depressives that grace the pages of her works. Such people are abundant in Sense and Sensibility, and I figured that I had to write at least one post about the ridiculous people, to highlight and honour Miss Austen's creative genius.

First up is Mrs. Jennings. This kind hearted women with a penchant for setting others ill at ease does serve a great purpose throught the novel. She helps to move the plot along. She does this by inviting the Dashwoods to London, taking them to Allenham, and introducing them to the people in the neighborhood. These all serve to expose Elinor and Marianne to a pleathura of disasters and oppertunities. She is the bearer of all important gossip both in the city and the country, and her wealth propels her into circles that are abundant in scandal. At one point she says, "I never heard any harm of her; indeed I hardly ever heard her mentioned; except that Mrs. Taylor did say this morning, that one day Miss Walker hinted to her, that she believed Mr. and Mrs. Ellison would not be sorry to have Miss Grey married, for she and Mrs. Ellison could never agree." (Volume II, Chapter 8).


Mrs. Jennings is also a mother, who has passed on her gifts of self-amusement and frivolity to her children. Charlotte Palmer is her daughter and the wife of the budding politician, Mr. Palmer. Their estate is Cleveland. Mr. Palmer is one of the solemn, depressive characters, without a fatherly bone of his body. At parties, he avoids his own wife and mother in law. I cannot say that I necessarily blame him. Most of the allure of the Jennings family comes in their money, rather than their personable natures. Look at this scene here: "After an hour or two spent in what her mother called comfortable chat, or in other words, in a variety of inquiry concerning all their acquaintance on Mrs. Jennings's side, and in laughter without cause on Mrs. Palmer's, it was proposed by the latter that they should all accompany her to some shops where she had business that morning." (Volume III, Chapter 4). What a dynamic duo, and perhaps not in a good way. However, I would be remiss if I did not talk about the other Miss Jennings, now married to Mrs. Dashwoods' cousin, Sir John Middleton. Now there is an odd couple! She is only happy to participate in conversation if she can talk about her children, or her past accomplishments. If one were to attempt conversation with her on a subject other than the two I have just mentioned, they would fail miserably. Her husband on the other hand, conspires relentlessly with Mrs. Jennings to make everyone else miserable through teasing. Really, when you think about it, the Miss Jenningses married the wrong men. Mrs. Palmer and Sir Middleton might be better suited for each other. Actually, when I think about Lady Middleton and Mr. Palmer together, that might not work; Mr. Palmer hates children, and Lady Middleton loves them. That would make for an interesting marriage.


Next up is Robert Ferrars, the amiable Edward's younger brother. The first time that the reader is introduced to the younger Ferrars brother, he spends copious amounts of time in a shop, picking out a toothpick case. "All that could be done was, to sit down at that end of the counter which seemed to promise the quickest succession; one gentleman only was standing there, and it is probable that Elinor was not without hopes of exciting his politeness to a quicker dispatch... He was giving order for a toothpick-case for himself, and till its size, shape, and ornaments were determined, all of which, after examining and debating for a quarter of an hour over every toothpick-case in the shop, were finally arranged by his own inventive fancy, he had no leisure to bestow any other attention on the two ladies.... At last the affair was decided. The ivory, the gold, and the pearls, all received their appointment, and the gentleman having named the last day on which his existence could be continued without the possession of the toothpick-case, drew on his gloves with leisurely care, and bestowing another glance on the Dashwoods... walked off with an happy air of real conceit and affected indifference." (Volume II, Chapter 11)


Later, when Robert discovers that Edward will become a curate, he laughs. He finds the fact that Edward will be working for a living, and marrying "John Smith and Mary Brown,"(Volume III, Chapter 5) in his parish, perfectly hilarious. Come to think of it, many people in Austen's novels, are prejudiced against other classes. Perhaps it is an indication of which characters you are meant to pity and like, because only the heroes and heroines are able to see beyond title status. It is an interesting tactic, and gives me something to think about. Let me know if you can think of an exception to this rule.


These are just a few of the characters that have caused me to giggle. There are many more. I have not even talked of the Miss Steeles, or Fanny Dashwood, or Mrs. Ferrars and her pomp. I guess you will just have to read the book to find out what they are like!


Good news, only eight chapters left until the end of the book. I think that I will actually be able to do this.

"I am going into the village to see my horses"

"It is a beautiful country," he replied; "but these bottoms must be dirty in winter."

"How can you think of dirt, with such objects before you?"

"Because," replied he, smiling, "among the rest of the objects before me, I see a very dirty lane."

(Chapter 16)

I am now about half way through Sense and Sensibility (Well into Volume II), and I have to say that reading Austen becomes easier the farther into one of her novels that you go. In the past, as much as I have always loved her works, I found that good things came in small packages, and that I could only really read one or two chapters a day. For example, I was able to read 2 or 3 chapters of Pride and Prejudice a night, but my head would swim if I tried to do more. It might have something to do with the fact that 200 years have passed since Sense and Sensibility was published, and our vocabulary and writing style is very different. I am growing increasingly thankful that audio books are at my disposal. As another aside, I should point out that I cannot simply read a paragraph or two at a time. When I want to sit down a read a chapter or two, I try to make sure that I have at least 15 minutes.

At the end of Volume II of Sense and Sensibility, the character of Miss Lucy Steele is introduced. Without spilling huge plot secrets, (Is that possible? Well, if you do not know the story of S&S and you still want to, STOP READING NOW!!), I can say that I feel very sorry for Edward's unfortuante entanglement. But his consistancy and devotion to such a frivolous women is virtuous. In fact, this novel, more than others, (except perhaps Emma) is full of men who remain devoted to women, despite their deficiencies. I remarked on this in my last post. At the same time, I am amazed by the fortitude of Elinor, who remains civil and kind to Lucy, despite her own personal loss, and the sadness that this loss brings. I have noticed though that Marianne and Elinor both show a little bit of a personal vendetta during this area of the novel. Marianne's is to put Elinor and Edward together, and she craftily does this by leaving Elinor and Edward together in the breakfast room, and leaving with a lame excuse. "He joined her and Marianne in the breakfast-room the next morning before the others were down; and Marianne, who was always eager to promote their happiness as far as she could, soon left them to themselves. But before she was half way upstairs she heard the parlour door open, and, turning round, was astonished to see Edward himself come out. "I am going into the village to see my horses," said he, "as you are not yet ready for breakfast; I shall be back again presently."(Chapter 18) Edward must have remembered his previous commitment to Lucy, and knowing that he cannot spend any time with Elinor without falling more madly in love, chooses the perfect moment to walk in to town. Literally.

As for as Elinor, when she discovers the link between Lucy and Edward, she carefully plans a time when she can talk to Lucy again with out arousing suspicion. "Much as she had suffered from her first conversation with Lucy on the subject, she soon felt an earnest wish of renewing it; and this for more reasons than one. She wanted to hear many particulars of their engagement repeated again, she wanted more clearly to understand what Lucy really felt for Edward, whether there were any sincerity in her declaration of tender regard for him, and she particularly wanted to convince Lucy, by her readiness to enter on the matter again, and her calmness in conversing on it, that she was no otherwise interested in it than as a friend." (Volume II, Chapter 1) She wants to verify the veracity of the situation, and she does so very well. In fact, she plays her part so well that Lucy feels guilty for burdening her with it in the first place. I guess that it is Providence that she learned of Lucy and Edward's understanding whilst still in the country, for news travels fast in the city. Providence must play a part in this story, for I believe that Elinor's fortitude, and her discretion, reward her later on. I mean, she gets the guy, right? Nice men eventually choose nice girls.

As another side note, I think that I have a found a sentence that might be one of the longest in Austen. It is a paragraph in length. This phrase is seriously the only thing in the paragraph. That being said, it is a very well constructed run-on sentence! I think that I should google this to see what Austen's longest sentence was. When I find this, I will let you know. "After an hour or two spent in what her mother called comfortable chat, or in other words, in every variety of inquiry concerning all their acquaintance on Mrs. Jennings's side, and in laughter without cause on Mrs. Palmer's, it was proposed by the latter that they should all accompany her to some shops where she had business that morning, to which Mrs. Jennings and Elinor readily consented, as having likewise some purchases to make themselves; and Marianne, though declining it at first was induced to go likewise."(Volume II, Chapter 4)

Established in Disastrous Love

"His manly beauty and more than common gracefulness were instantly the theme of general admiration, and the laugh which his gallantry raised against Marianne received particular spirit from his exterior attractions.... His person and air were equal to what her fancy had ever drawn for the hero of a favourite story; and in his carrying her into the house with so little previous formality, there was a rapidity of thought which particularly recommended the action to her. Every circumstance belonging to him was interesting. His name was good, his residence was in their favourite village, and she soon found out that of all manly dresses a shooting-jacket was the most becoming. Her imagination was busy, her reflections were pleasant, and the pain of a sprained ankle was disregarded." Sense and Sensibility Chapter 9

This narrative occurs about halfway through Chapter 9, and follows Marianne and Willoughby's first meeting. I do not think that I previously had a full appreciation for the youthfulness of Marianne's character. At this point in the novel she is about 16 1/2 to 17 years old. Goodness, how young! Now that I read this part of the novel again, I am not sure that I agree with the interpretation of Marianne that is seen in the movie adaptations of this book. In most of the movies, she is young and has an air of youthful snobbery. Both the book and the movies show that she is immature and prone to be led by feelings rather than rational thought and propriety. The movies show a young adult women with a slightly rebellious spirit. However, the original Marianne of Jane Austen's imagination has less snobbery and more blissful ignorance.

The Marianne of the novel has a wild imagination, and shows very few signs of adulthood. This can been seen in this quotation from Chapter 11. "The whole story would have been speedily formed under her active imagination; and every thing established in the most melancholy order of disastrous love." This imagination and immaturity that I see through this part of the novel show me a teenager, and not an adult. She has solid opinions of love, but, as Elinor points out, without experience to back them up. She bases her decision to love men on their ability to read poetry, "and she soon found out that of all manly dresses a shooting-jacket was the most becoming." (Chapter 9) This sounds like a teenager to me. This is the modern day equivalent of a girl saying, "I like him best when he wears his tuxedo/soccer uniform/etc."

It appears that Elinor's desire for Marianne to enter into, "a better acquaintance with the world," (Chapter 11) is not unmerited. And with this realization of Marianne's youthfulness I have realized something else; the character of Colonel Brandon becomes all the more wonderful because he sees something important and special in Marianne during this ridiculous and formative time of her existence.

"The family of Dashwood had been long settled in Sussex."

Quotation: "His pleasure in music, though it amounted not to that ecstatic delight which alone could sympathise with her own, was estimable when contrasted against the horrible insensibility of the others; and she was reasonable enough to allow that a man of five-and-thirty might well have outlived all acuteness of feeling, and every exquisite power of enjoyment." Sense and Sensibility Chapter 7

No, I did not choose that quotation because it jumped out at me for its creativity, but rather because it displays one of the first traits that an Austen reader will notice. RUN-ON SENTENCES. Jane Austen is famous for her exhausting sentences and her lack of dialogue. This is a prime example. In fact, I find this sentence long enough to merit copy-and-pasting it off the internet :)

As you can see, I am well into Sense and Sensibility. It is a wonderful story, and one that Austen spent a great deal of time writing. It was published in 1811 (200 years ago) and Jane actually had to pay for its publication. This sounds ludicrous considering her world wide following and popularity, but her naïve publisher must have not had much faith in it. She published it under the name, "a Lady", but still only made a minute profit when the novel gained popularity. Sense and Sensibility actually started life as early as 1796, in the form of a novella, titled Elinor and Marianne; a story of two sisters told in letter-format. It obviously underwent extensive revision, and many drafts before 1811. Its gain in popularity required her to be referred to as the author of Sense and Sensibility in her next novel, Pride and Prejudice.

Her dedication to editing this novel so extensively paid off, and despite the plethora of run-on sentences, it has class. I love how dynamic the characters are. Elinor is strong and poised, and is definitely virtuous. I hope that she rubs off on me by the end of the novel. Reading the first 8 or so chapters has already enlightened me on the lifestyle of the Regency period. For example, several times in a month were more popular than others for visiting with friends. This all had to do with the types of carriages that they drove. Apparently, when one dwelled in the country, travel from a friend's estate to your own could be perilous. It was all because of the luminosity of coach lanterns. When the moon was high in the sky, travel was safe. They must have been party animals when the moon was full, because Sir John, "had been to several families that morning, in hopes of procuring some addition to their number; but it was moonlight, and everybody was full of engagements. " Chapter 7. I do not know about you, but I think that waiting for moonlight would be no imposition if I were fortunate enough to possess an estate.