Sense And Sensibility Essay, Research Paper
Sense and Sensibility
13 Feb. 1997
The subject of this paper is to separate the differences between sense and
esthesia. Represented in Jane Austin? s novel by two sisters, Elinor and Marianne,
the temperament of the two misss can be seen rather vividly. The two misss are
accompanied by a female parent, and many other good developed characters. One
character questionable to the subject of the narrative is the youngest sister Margaret. Her
personality if described would be more like that of her sister Marianne.
The novel begins with a deceasing male parent stating his boy that he must go forth his
estate to him and his married woman. This means that the three misss and their female parent will be
left without a topographic point to remain and the misss without dowery? s. As lethal a blow as this
may look, it is coupled by the fact the their brothers new married woman is less than
sympathetic to the three misss needs. This is when we are foremost introduced to Elinor
and her younger sister Marianne. As usual, Marianne is being her impulsive ego
and Elinor is seeking to take attention of her households wellbeing.
A brief outline of Elinor and Marianne? s personalities leads to the
following: Elinor is quiet, soft spoken, full of good manners, and good brought up.
Marianne is unprompted, vocal, full of a vivacious love of life and playful. To to the full
understand the misss, it is of import to see how other character viewed them.
Edward Ferrars, the object of Elinor? s fondness ( though she would ne’er
demo it ) is quoted as stating Miss Dashwoods friendship the most of import of his
life. This is a considerable compliment ( even if it isn? t what Elinor wants to hear at
the clip ) coming from a adult male as extremely esteemed as Mr. Ferrars. Elinor is viewed
by her female parent and her two sisters as a salvaging grace, person to depend on. To a
certain extent this is true, but Elinor besides has jobs and she doesn? t rather know
how to allow people cognize about them. Even when Lucy Steele confides in Elinor that
she has been in secret engaged to Edward for four old ages, she tells no 1, and bears
the load of a broken bosom on her ain.
The same would non, and did non go on with Marianne. She made sure that
everyone knew how she felt about a immature adult male named Mr. Willoughby. Rescued
in a instead dramatic manner by the gentleman after twisting her mortise joint, Marianne
falls head over heels in love. Rather than maintain her feelings a secret like Elinor, she
parades around town and flaunts her fondnesss for Willoughby unashamedly. This
of class is looked down upon by Elinor, the basic of esthesia. She has a really
difficult clip accepting how Marianne acts strictly upon her senses.
A existent contrast can be seen between the two adult females when Marianne comes to
see Elinor in her sleeping room one dark. It is the same eventide in which Edward has
read to the household upon Marianne? s incistant pressing. Edward lacks the emotion that
Marianne thrives on while reading to the adult females and she has no scruples about
sharing this with him.
When speaking to her sister, Marianne states that she finds Edward to be an
? good-humored? adult male, but missing a certain flicker. When Elinor says that his temperament
suits her merely all right, Marianne is aghast. Her immediate reaction is one of inquiry.
Would Elinor instead love a dull, good-humored adult male or the sort of adult male she would take?
Marianne would settle for no less than a prince on a white entire, ready to deliver
her from the confines of her small bungalow. Her adult male must possess? spirit, humor, and
The fact that the misss have no dowery is now get downing to weigh on them. It
is going an progressively of import subject in the novel that the two want to be
married. Elinor to Edward and Marianne to her prince, Mr. Willoughby. It is here
where the lines between the eighteenth and 20th century can genuinely be drawn.
These adult females waited their full lives to be proposed to by a adult male who accepted
their doweries and in some instances, even loved them. A kind of despair can be
seen in Elinor and Marianne as they wonder when they will be proposed to. Elinor
has all but given up holding heard the intelligence of Ms. Steele, but Marianne remains
aspirant that she will be reunited with Willoughby after being separated and he
transferred to London.
This is where in the novel, the true difference between sense and esthesia
can be seen. At a party in London, Marianne looks and finds Willoughby, merely to
see that he is at that place in the company of another adult female, one he is engaged to.
Not cognizing rather what to make, she retreats to her residence in London and falls into a
province of depression. Of class what else could you anticipate from the queen of play
herself, one who feel that no decease could of all time be nobler that decease in the name of
love. Staying in her province of unwellness for some clip causes a sudden alteration in
For the first clip since the beginning of the novel, Elinor really interruptions
down. In a minute of pure feeling, she eventually calls and lets the loads of a
broken bosom and the close loss of her sister return over.
When Marianne begins to retrieve, a alteration can be seen in both sisters
attitudes. Word comes that Mr. Ferrars has been marries and it is Elinor who
shows emotion instead than her sister. Although this is a elusive occurrence, to
anyone who follows Elinor? s emotions closely, it is easy to see she is demoing much
more now than in the beginning of the novel.
It is at this clip that Edward pays a visit to the Dashwoods and clears up the
rumour that it is he who is married to Ms. Steele. It is in fact his brother, who has
taken over Lucy? s fondnesss. It is obvious to the reader the delectation that is bestowed
upon Elinor at this clip. For she now for the 2nd clip truly shows how she feels
with an ad-lib bought of shouting at the intelligence.
Her sister, is one time once more rescued from the deepnesss of desperation merely this clip by
a much older Cn. Brandon whom she one time pushed aside for Willoughby.
Both sisters, despite their deficiency of sufficient doweries, do finally happen love
and matrimony. It is in the procedure, nevertheless, that we see the true difference between
sense and esthesia. Marianne? s? unprompted sugariness? is what saves her and
leads her to follow her senses, whereas Elinor? s mild mannered temperament additions her
the rubric of the reasonable sister. In the terminal, both misss flourish, and sense every bit good as
Sense and Sensibility
English/ Prof. Johnson
Due: 19 Feb. 1997