Jane Austens Sense and Sensibility: The coexistence of contrasts in human personality - Essay Example

Jane Austen’s Sense and Sensibility: The coexistence of contrasts in human personality Sense and Sensibility (1811), the first novel by the celebrated English novelist Jane Austen, has been recognized as the prime example of the author’s ability to depict her awareness of the human personality and nature through her characters. Critics through the history of English literature have been of single voice about Jane Austen’s great knowledge of human nature and the effective presentation and blending of the various elements in human personality through her characters. The novel which tells the story of Elinor, Marianne, and Margaret, the daughters of Mr. Dashwood, and their older half-brother named John is also celebrated for the author’s skill in characterization. Her central characters, though seems to show vanity initially, ultimately celebrates the moral and social responsibility, and the novelist’s skill in characterization becomes apparent. It has been remarked that Jane Austen might introduce unpleasant characters into her stories, but she confidently exposes them to a public opinion to condemn them. (Clement et al., 6) A close analysis of the novel’s plot helps one to find the author’s ability in characterization, and the novelist portrays the characters in a way to present the difference between sense and sensibility in life and love. The plot deals with the lives of the Dashwood sisters who move to their new home, following the death of their father, where they come around both romance and misfortunes. Austen successfully resolves the contrast between the sisters’ characters, as each of them hits upon love and permanent happiness in the long run. Thus the title of the novel can be realized s illustrating how the two sisters, Elinor and Marianne, discover the equilibrium between sense and sensibility in life and love. Most significantly, the Austen novel explores human personality in its total through the characters, and almost every character in the novel illustrates various elements of sense and sensibility which may be particularly evident in the characters of Elinor and Marianne. Therefore, it is apparent that, in contrast to the popular belief that Elinor personifies sense while Marianne prominently illustrates sensibility in the novel, elements of sense and sensibility can be found in both the characters and, at times, in all the major characters. A short introduction to the plot of the novel seems to contribute to one’s awareness of the characterization in the novel, and it follows the lives of Dashwood sisters after the death of their father at Norland. Now, the fate of Dashwood ladies is left in the hands of their half-brother John and his wife Fanny who refuse to provide the sisters a generous sum of 1000 pounds each, which they could well afford especially with the new inheritance. Thus, John turns the ladies away with nothing at all except the furniture that was already his stepmother’s in the first place. Luckily, the Miss Dashwoods are offered a cottage in the Barton estate, of a cousin, Sir John Middleton. Mrs. Dashwood accepts the offer after Elinor urges her that it is the right thing to do. Austen presents a perfect and expertly written example of how actions can be justified if people are determined to do the wrong or self-serving thing. Thus, the sense and sensibility in the major characters are revealed as they encounter different situations in life. Both Elinor and Marianne represent elements of sense and sensibility in difficult situations which is very evident in their love relations and difficult situations of life. Elinor can be comprehended as the sensible and reserved daughter of Dashwood who becomes attached to Edward Ferrars, the brother-in-law of John. Along with her sensibility, Elinor always has an intense sense of responsibility to her family and friends, which makes her to be concerned of their welfare above her own and suppress her own emotions in the lights of her sense. The combination of sense and sensibility in the character can be seen in her strong emotion which she holds back for the sake of others, and this makes others think that she is indifferent or cold-hearted. Similarly, Marianne Dashwood, the romantically disposed and fervently expressive daughter of Dashwood represents sense along with the apparent sensibility in her character. Her love for the young, handsome, and romantically spirited Willoughby and the initial decline of the love to the older and more reserved Colonel Brandon suggests her keen sensibility in the novel. However, in a close analysis it becomes lucid that Marianne also illustrates elements of sense as the novel progresses and she ultimately learns that her sensibilities have been selfish. Thus, the novelist presents her as realizing the need for sense along with sensibility and now she wants her conduct to be more like Elinor, her elder sister. In fact, she always has an awareness of sense along with the apparent sensibility in her. “As for Marianne , on the pangs which so unhappy a meeting must already have given her, and on those still more severe which might await her in its probable consequence, she could not reflect without the deepest concern. Her own situation gained in the comparison; for while she could esteem Edward as much as ever, however they might be divided in future, her mind might be always supported.” (Austen, 157) Thus, a reflective analysis of the characterization in the novel assumes that both Elinor and Marianne represent the different aspects of sense an sensibility. To reflect on the major characters in the novel, one finds that there are several characters with occasional impressions on the development of the plot. However, the plot and the theme of the story develop round the two Miss Dashwoods, Elinor and her younger sister Marianne, who are central to the theme of sense and sensibility. The youngest of Dashwood sisters, Margaret, is only thirteen. Their half-brother, John is a reasonably decent man but is under the influence of his wife Fanny, who is a fabulously wicked character in the novel. The way that Austen introduces Edward Ferrars and Willoughby as affections of the two Dashwood ladies is brilliant in the sense that it is immensely suitable to the personalities of two sisters. Edward Ferrars suits the personality features of Elinor who is controlled more by sense than sensibility, whereas the romantically spirited Willoughby goes well with the nature of Marianne. When we meet Edward he seems very dull indeed and our first impressions of him are all through second hand accounts. He is never properly addressed in the book unless it is in conversation between two people. Willoughby, however, makes a grand, truly dashing entrance, literally sweeping Marianne off her feet after she tumbles and twists her ankle. “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.” (Austen, 37) Marianne is the sensible, emotional one, and how could we expect after such a perfect entrance for Elinors love interest that Marianne’s would not also mirror her wild romantic notions? The love interests later develop in the novel explaining fully what Austen means by sense and sensibility in the novel Sense and Sensibility. Interestingly, it is Marianne’s character that grows most through the story, and no wonder she lingers in the memory of the reader long after the book is finished. An understanding of the characterization in the novel by Jane Austen confirms that the novelist has been particular in transforming the characters Elinor and Marianne into what would become the title of the novel, Sense and Sensibility. However, in a closer analysis of the novel’s plot, characterization, and theme, it is revealed that both the characters reflect elements of sense and sensibility. Thus, it becomes clear that the novelist puts in philosophical depth to the original sketch of two characters in the novel. It is important to have an explicit idea about the title of the novel and the elements of sense and sensibility in it. “…Austen links Elinor to sense (‘Her own good sense so well supported her’) and Marianne to sensibility (‘too great importance placed by her on the delicacies of a strong sensibility’) but she continually muddies the semantic waters, using not just the title words but terms like sensitive, sensible, and sensation.” (Auerbach, 101) However, it is more apparent that the novelist does not fix the features of both the characters, and their personalities reflect sense as well as sensibility. Thus, both the characters gain equal importance in the novel and the novelist deliberately develops a tale of two heroines in the novel. It is evident in the novel that Elinor has a more inclination to sense, while Marianne is more guided by sensibility. The elder sister is more concerned of the realities of life and her sense leads her through the difficult times of life. On the other hand, Marianne is affected more by sensibility and she initially discards the importance of sense. Thus, one finds her deeply moaning on leaving Norland and this artistically inclined and lover of nature often remembers the land nostalgically. Marianne is more of a woman who responds to such situations with utmost sense. Thus, Austen makes Marianne cry and Elinor say. “Marianne cries; Elinor says. Autumn brings Marianne ‘transporting sensations’ and exclamations, while Elinor sees piles of dead leaves… Austen places readers in the middle with her, irritated that Marianne is carrying on excessively yet conscious that she genuinely delights in nature and spends more time outdoors than Elinor does.” (Auerbach, 107) Colonel Brandon has great love for Marianne and if he feels jealousy and disappointment for her liaison with Willoughby, it is covered by dignified exterior. His love is actually a tribute to his former love, Eliza, who became rebellious when, forced to marry colonel’s elder and wealthier brother. She ran away and fell in trap of sensuality, poverty and debt. Though the colonel tried to save her from imprisonment and other troubles, she succumbed to her tragedies. He wants to protect Marianne, who has similar warmth of heart, from same fate and from Willoughby’s ways. (Poovy, 184) Marianne comes very close to death when dumped and through this violent education process learns that she needs to discard the sensibility and become a member to community of sense. (Seeber, 29) She accepts the proposal of Colonel Brandon and marries him. Her completely reversed feelings for colonel is evident when Marianne voluntarily gives her hand to Brandon, “a man who had suffered no less than herself under the event of a former attachment, whom, two years ago, she had consider too old to be married, and who still sought the constitutional safeguard of a flannel waistcoat!... Marianne could never love by halves; and her whole heart became, in time, as much devoted to her husband as it had once been to Willoughby.” (Austen, 339) Thus, the character study of the novel apparently suggests that the elder sister depicts more of sense and less of sensibility, whereas the younger sister represents more sensibility and less sense. However, there is sense as well as sensibility in both the characters, and Marianne development into more sensibility confirms the intentions of the author. Austen displays some degree of definite satire, effectively used in exposing the hypocrisy of individuals and society. Her satire operates at different levels. Whenever Austen presents John Dashwood, she points out his conspicuous mercenary attitude and makes him appear as a caricature obsessed with money. Sometimes the satire is subtle, as in the sketches of Sir John and Lady Middleton, whose idle existence Austen highlights. Austen has her trademark indirect speech to convey her thoughts. Thus what are moral absolutes in theory may actually have many gradations in society. (Poovy, 184) Another important aspect of Austen’s book is the consistent and prudent choices of Elinor for she does everything as duty, and as consistent but juxtaposed and self – indulgent choices of her sister Marianne who sought her individual happiness. Austen also restricts her reader’s access to romantic plot, thus make him impatient, by using indirect narration. Most of Marianne’s passion for Willoughby is in letters, which are concealed from reader until Willoughby dumps Marianne for a wealthy bride. (Poovy, 185) The story does lead to triumph of sense over sensibility but Austen does not discard sensibility altogether. However, Austen so strongly sides with the sense that she ridicules vulnerability to emotions through Marianne’s conduct, her wailing and near death sickness. Those with better sense emerge winners, and Elinor and Colonel Brandon are rewarded with fulfillment of their desires. While those with initial sensibility suffer till they get better sense, but revive and live contentedly thereafter, as depicted through Marianne and Edward. To conclude, the Austen novel explores human personality in its total and the novelist’s skill in the depiction of various aspects of human nature through the characters is apparent. Almost every character in the novel illustrates various elements of sense and sensibility which may be particularly evident in the characters of Elinor and Marianne. Therefore, it is apparent that, in contrast to the popular belief that Elinor personifies sense while Marianne prominently illustrates sensibility in the novel, elements of sense and sensibility can be found in both the characters and, at times, in all the major characters. Elinor is also deeply troubled and confused of her feelings when disappointed in matter of heart but keeps a composed exterior unlike Marianne who wails and falls sick to almost death. Similarly Edward Ferrars, though honest and serious, could not gather courage to tell Elinor of his engagement to Lucy Steele four years ago. The intelligent and dignified Colonel Brandon loves bratty and emotional Marianne deeply and waits patiently that one day the latter would recognize his true love. So practicality and rationality does take a back seat sometimes in almost all of us. The gentlemen and ladies seek different kinds of life depending on their nature and so they meet different fates as well. Austen’s ladies look for a loving and secure life while men are somewhat adventurous. No wonder Austen does condemn her men folk viz. Mr. Willoughby or John Dashwood for their fidelity and vices but she does seem somewhat favored towards the ladies who all come out winner and live happily ever after. Works Cited Auerbach, Emily. Searching for Jane Austen. University of Wisconsin Press. 2006. P 101. Austen, Jane. Sense and Sensibility. Bernhard Tauchnitz Firm. 1864. P 157. Clement, D. et al. Regulated Hatred and Other Essays on Jane Austen: And Other Essays on Jane Austen. Continuum International Publishing Group. 1998. P 6. Poovy, Mary. The Proper Lady and the Woman Writer: Ideology as Style in the Works of Mary Wollstonecraft, Mary Shelley, and Jane Austen. Chicago: University of Chicago Press, 1984. P 185. Seeber, Barbara Karolina. General Consent in Jane Austen: A Study of Dialogism. McGill: Queen’s Press – MQUP. 2000. P 29. Read More