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Sense and Sensibility
Transcript of Sense and Sensibility
Sense and Sensibility
Presentation Done By: Kimberly R. , Emma C. , Chanahra F. , Michal W. , Becca W. and, Emmanuella E.
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Jane Austen uses a very direct style of writing in Sense and Sensibility.
The reason for this was that Jane Austen wrote during the Romantic Movement and she absolutely despised the movement. In actuality, one could say that Sense and Sensibility is in a way her protest against the movement. Romanticism was all about intense, unrestrained emotions or the individual above the greater good, or society. Thus, Sense and Sensibility contradicts that idealism with putting common sense before love and showing that unrestricted love can cause heart break.
Going with the insult to the Romantic Movement Jane Austen uses personification just as all other romantic writers. When leaving Norland, Marianne composes her own ode to the house, personifying it as a real person.
"Dear, dear Norland! . . . when shall I cease to regret you!--when learn to feel a home elsewhere--Oh! happy house, could you know what I suffer in now viewing you from this spot, from whence perhaps I may view you no more!"
Jane Austen uses foreshadowing and allusions scattered throughout the work which adds an artfully crafted paragraph which can foreshadow the entire story.
"We have never finished Hamlet, Marianne; our dear Willoughby went away before we could get through it. We will put it by, that when he comes again . . . But it may be months, perhaps, before THAT happens"
"Months!" cried Marianne, with no strong surprise. "No-nor many weeks."
This passage contains both allusion and foreshadowing. The allusion refers to Shakespeare's Hamlet to where Willoughby is just as Hamlet where he ensnares those he most dearly loves and is then snared by his enemy.
Jane Austen uses irony as a means of social satire. Her sentences contain basic contradictions within them which reveal profound insights for characters and themes. This is most obvious in her character sketches.
John Dashwood, "was not an ill-disposed young man, unless to be ill-disposed."
The first half of the sentence Jane Austen is viewing the character admirably. Suddenly, mid-sentence she changes direction and express John as far more bitingly negative than a mere statement of disapproval.
Jane Austen was an English novelist who primarily attributed her fame from her works of romantic fiction. Though she is well known and an important literary figure in literature today, she was reserved and humble during her lifetime. In fact, Jane Austen initially published her writings anonymously.
Jane Austen was born on December 16, 1775 in Steventon, Hampshire, England. As the second youngest child of seven siblings, Austen was known to be quiet yet intelligent among her family members and peers. Growing up as one of the youngest of the Austen children, and the youngest girl, Jane formed a respect and liking to her older sister Cassandra. It is known that the two girls were always together. Their mother even made a statement explaining that whatever happens to one also happens to the other by saying "If Cassandra's head had been going to be cut of, Jane would have hers cut of too."
The Austen children grew up in a home which stressed learning and creative thinking.Jane first began writing plays and short stories when she was a young child. She wrote Juvenilia, a collection of parodies of historical writing, which was often shared with her relatives and friends for amusement. To obtain a more formal education, Jane and Cassandra were sent to boarding schools in Oxford, Southampton, and the Abbey School at Reading. While studying away from home the two girls learned subjects such as French, reading, music and dance. Unfortunately, both Austen girls caught typhus and had to later return home due to financial contraints.
During adulthood, Jane Austen continued to develop her writing style and work on pieces of literature that would ultimately gain her much popularity. Her novels bridged the gap between romance and realism. She began to anonymously publish her work at age 30. "Such anonymity suited her" ,for, literary critic Richard Blythe notes, "literature, not the literary life, was always her intention." Between the years of 1811-1816, Jane Austen published Sense & Sensibility, Pride and Prejudice, Mansfield Park, and Emma. It wasn't until after her death that Cassandra and her brother, Henry, published a couple more of her pieces noting that all of these writings were in fact Jane Austen's not his own. Unfortunately, Jane Austen became ill with what doctors believe now was Addison's disease. Despite her condition becoming increasingly worse, Austen continued to write two additional novels as well as revising previous literature. Jane Austen died on July 18, 1817 in Winchester, Hampshire, England.
~Faulty Timing: The entire book revolved around the faulty timing of the characters’ decisions.
~Wealth: An overarching theme of Sense and Sensibility is wealth.
~Marriage: It was the goal of each of the characters to marry the men they loved.
"My fortune was never large, and I had always been expensive, always in the habit of associating with people of better income than myself. Every year since my coming of age,or even before, I believe, had added to my debts; and though the death of my old cousin,Mrs. Smith, was to set me free; yet that event being uncertain, and possibly far distant, it had been for some time my intention to re-establish my circumstances by marrying a woman of fortune. To attach myself to your sister, therefore, was not a thing to be thoughtof." (John Willoughby)
"I am persuaded that Mrs. Smith suspects his regard for Marianne, disapproves of it, (perhaps because she has other views for him), and on that account is eager to get him away;—and that the business which she sends him off to transact is invented as an excuse to dismiss him. This is what I believe to have happened." (Mrs. Dashwood)
"I am very much mistaken if Edward is not himself aware that there would be many difficulties in his way, if he were to wish to marry a woman who had not either a great fortune or high rank." (Elinor Dashwood)
“Well, it is the oddest thing to me, that a man should use such a pretty girl so ill! But when there is plenty of money on one side, and next to none on the other, Lord bless you! They care no more about such things!—""The lady then—Miss Grey I think you called her—is very rich?""Fifty thousand pounds, my dear.” (Elinor & Mrs. Dashwood)
"But Mrs. Dashwood was alike uninfluenced by either consideration. It was enough for her that he [Edward] appeared to be amiable, that he loved her daughter, and that Elinor returned the partiality. It was contrary to every doctrine of hers that difference of fortune should keep any couple asunder who were attracted by resemblance of disposition." (Mrs.Dashwood)
"A woman of seven and twenty," said Marianne, after pausing a moment, "can never hope to feel or inspire affection again, and if her home be uncomfortable, or her fortune small, I can suppose that she might bring herself to submit to the offices of a nurse, for the sake of the provision and security of a wife. In his marrying such a woman therefore there would be nothing unsuitable. It would be a compact of convenience, and the world would be satisfied. In my eyes it would be no marriage at all, but that would be nothing. To me it would seem only a commercial exchange, in which each wished to be benefited at the expense of the other." (Marianne Dashwood)
Jane Austen’s Sense and Sensibility was published in 1811 during a period when the Romantic Movement was influencing writers and poets. Sense and Sensibility is considered to be a neoclassical novel; however, Austen uses romantic devices to depict some of her characters. In Neoclassical works, emotions are controlled and sense is preferred to sensibility. However, with the birth of the Romanticism, individuality and imagination became the important factors within a novel. In this case, showing one’s passion is more suitable. Austen incorporates these distinct differences in her main characters of Marianne and Elinor. Elinor seems to encompass the neoclassical traits of reason and fastidious sense in contrast to Marianne’s character of passion which depicts the features of the typical romantic heroine.
Furthermore, it is important to emphasize the importance of the epistolary (relating to or denoting the writing of letters or literary works in the form of letters) novel. Before Austen, writers included letters within their novels usually between the protagonist and his/her family member to further expound the plot,description, and characterization. Initially Austen wrote Elinor and Marianne in an epistolary mode, but changed to free indirect discourse which can be particularly found in chapter 12. It reveals Marianne’s enthusiasm about the horse Willoughby has given to her despite Elinor’s reticence about the subject. Also certain words used in Austen’s time aren’t used anymore in modern day such as "illaudable" which may mean despicable.
Edward is the sensible and friendly older brother of Fanny Dashwood and Robert Ferrars. Financially dependent on his mother, Edward is privately educated although not trained for a specific profession. Edward Ferrars isn't entirely in control of his life. He is bullied and manipulated by his sister, Fanny, and their mother. Edward’s mother ultimately decides that it was better to be a wealthy man of leisure than to have a career.
We learn that Edward secretly got engaged to Lucy Steele at a young and impressionable age, and now, years later, he's stuck with yet another controlling, and manipulative woman. After meeting the Dashwoods-Elinor in particular, Edward is immediately enthralled by their kindness, sweetness, and gentle natures. He falls in love with the intelligent and fair-minded Elinor. Strictly honorable, Edward keeps his promise to Lucy even though his heart now belongs to Elinor. "Gentlemanlike and pleasing," Edward is not attractive to Marianne. Elinor, however, sees him differently: ". . . his mind is well-informed . . . his imagination lively . . . his taste delicate and pure." She praises the "expression of his eyes" and the "sweetness of his countenance." Edward is a really good, kind, and sensitive guy. His pensive nature is a natural match for Elinor's own sensibility. Edward doesn't always exactly take an active role in his gradual process of independence, but he takes it all in stride and doesn't give in to his mother or Fanny. As a lover, he is clumsy and tongue-tied; when he is finally free of Lucy, he blurts out an explanation to Elinor but does not then propose. He finally proposes to Elinor, persuading her that his affection for her is "as tender, as constant, as she had ever supposed it to be." He achieves the quiet life he yearns for and shows "the ready discharge of his duties in every particular" as a country priest.
Willoughby appears to be the romantic hero of the novel as he rescues Marianne and carries her home. "Uncommonly handsome," he has a charming voice and chivalrous manners. Sir John describes him as "Good a kind of fellow as ever lived. . . . A decent shot . . . there is not a bolder rider in England." He becomes attracted to Marianne, and her likewise so. . As time goes on, he runs away to London, leaving Marianne without explanation, or promise of marriage, when Mrs. Smith discovers that he has seduced Colonel Brandon's ward,Eliza Williams.
Willoughby avoids Marianne until she begs him to speak to her at a dance. Later he sends her a cruel and curt letter, saying that he had never been seriously attracted to her. He later greedily marries Miss Sophia Grey, a wealthy woman who makes him unhappy. This causes him to repent from his hurtful and deceitful behavior towards Marianne. At the end of the book, he comes right out and admits this to Elinor of his debauchery. On the outside, he's everything Marianne dreams of – handsome, poetry-loving, musical, and supposedly rich. However he is completely different on the inside. Willoughby is greedy and takes advantage of young girls, blinded by their romantic ideals and exuberant sensibility. Fortunately, Willoughby receives a transformation at the end of the novel. He goes from thinking that Marianne is just another easy girl from his past, to having his own heart broken by the impossibility of being with her. Even though he doesn't love his wife the way he could have loved Marianne, he manages to get by. Marianne continues to be his ideal woman, even as the years go by – his experience with her clearly had a great impact on him.
Marianne is the second daughter of Mr. and Mrs. Henry Dashwood. At seventeen, Marianne's spontaneity, excessive sensibility, and romantic idealism leads her to fall in love with the boisterous John Willoughby. Marianne finally recognizes her misjudgment of Willoughby when he painfully snubs her at a party in London. After this turn of heart, she ultimately marries her long-standing admirer, Colonel Brandon. Marianne lacks a lot in the “sense” department. She's always getting herself into situations purely directed by her emotions. She is vested in her romantic ideologies and rarely acts practical or sensible. Marianne is all about sensibility – that is to say, she's all about passion. She doesn't really think before she acts.
She firmly believes that one should be directed by feelings, not logic. Marianne pours out all of her feelings into emotional sessions at the piano, and equally uncontrolled rants. Because of her overwhelming sensibility, Marianne’s character arc fluctuates. She is excited and exuberant when she's head-over-heels in love with Willoughby. Her happiness is very infectious. However, after Willoughby brutally dumps her, Marianne hits an all-time low. Her depression and subsequent brutal illness put a damper on everyone around her. It seems as though her emotions influence the lives of her friends and family almost as much as they influence Marianne herself. In the end, impulsive Marianne comes to realize that her emotions almost killed her – literally (her near-fatal illness was the result of her impassioned walks in the rain, thinking about Willoughby). She decides to try and incorporate more practical elements into her life, and resolves to be more like Elinor. Her decision to marry Colonel Brandon is the ultimate practical step in her life – though she didn't immediately feel sparks with the Colonel, she intellectually appreciates that he's a good guy, and he can provide a wonderful life for her.
Elinor is the eldest daughter of Mr. and Mrs. Henry Dashwood and the heroine of Austen's novel. At age nineteen, Elinor is composed but affectionate, both when she falls in love with Edward Ferrars and when she comforts and supports her younger sister Marianne. As the practical one, Elinor is always having to shoot down the whimsical, impulsive urges of others, always having to chime in with, "Well, if you consider the facts…" or "That's a nice idea, but…” Elinor Dashwood is condemned to this role as the sensible one by Marianne, Margaret, and their mother. In the happenings of getting kicked out of their house, and handling the family’s affairs, finding a new home, dealing with crazy neighbors and acquaintances, Elinor seems to be the only clear headed person in the Dashwood home.
Elinor is also the voice of common sense amongst the emotional, passionate and romantic women that is her family. Even her artistic expression of drawings is more measured and precise than Marianne's dramatic musical rampages at the piano. This practical outlook helps everyone in the Dashwood family get through everyday life, but leaves Elinor herself with some unresolved emotional issues. Even though Elinor looks calm and composed on the outside, she is just as full of emotions as Marianne. She doesn’t get carried away with her emotions the way her sister does. However, when she falls for Edward, she falls hard. Her love for Edward Ferrars, which goes unannounced and unresolved for most of the book, may be hidden, but that doesn't make it any less powerful. Her rational approach to sentiments misleads others to think she lacks deep feelings-which is far from the truth.
The title of the novel Sense and Sensibility is cleverly put to symbolize the girls of the story using old fashioned terminology. In this time sensibility was meant to be perceived as sensitivity now. This term obviously is coined to model Marianne, this overemotional unsteady woman, who clearly represents the label. The story conveys the complex journey that the sisters must endure to find a balance between reason and emotion. Jane Austen ends the novel with the typical happily ever after presenting readers with the controversial questioning of “true love”.
Furthermore, challenging the sense and sensibility in this setting allows the readers of now to connect on a deeper level with the author of the past. Jane Austen masterfully sneaks in the questionable crossroad in the story and blatantly crafts the title to contain the discrete message. The fight between duties over heart renews the meaning of the title; while the title emphasizes the true inspiration for the novel itself. In doing so, the parallel symbolism truly completes the work of the classic author, Jane Austen.
The setting of Sense and Sensibility abides in two English towns known as Devonshire and London. This story takes place in the early 19th century and very clearly exhibits these characteristics. Unlike most of Austen’s works, the main characters are placed in a non-aristocratic society. Though the women are surrounded by the “finer things in life”, they have no money left after their father passes. The original copy, published in 1811, emphasizes the year by the rules of social customs that must be presented amongts the people.
The family resides stuck in the complexity of the social milieu while traveling throughout England to visit friends and family. Even with all the traveling that the family does, there is no true setting of the outside life. Due to their time period most women were expected to have stayed mostly indoors with gossip and books to keep them busy. The character's upper middle-class status refines their activities to a few indoor card games and painting. The social tension built up in the novel confines the setting to a few cottages in the country and a few trips to city towns. Limited variety of settings contributes greatly to the naïveté the girls have later in their romantic futures.