I woke up this morning to the smell of wood smoke in my house. I live in a rental in downtown Missoula. Looking outside I could barely see across the business street it was so smokey. Since it was smokey outside I decided to look through the archives. Down to this search at first to gather up all my short stories in hope of getting them published, I ran across these gems from a "Women's in Literature Class," I completed during my undergrad. years. They are reviews of Jane Austen's predominant novels.
Because I have these fabulous scanty tales at the ready, I thought I would spread the joy and the monotony. Thus I have thought, I would post one every so often for simple enjoyment.
fin.
In "Sense and Sensibility," Edward Ferrars’ involvement with Lucy Steele and Elinor Dashwood, is in contrast to John Willoughby’s involvement with Eliza Williams, Marianne Dashwood, and Sophia Grey.
Take Elinor, for example, she rationalizes everything that spells out the words for defining “sense.” She’s prudent, intellectual, and displays propriety. Her character is best defined when, after feeling a conscious connection to Edward, she meets Lucy Steele, and Lucy confides she is engaged to Edward—an engagement that was in existence before Elinor met Edward.
"What felt Elinor at that moment? Astonishment, that would have been as painful as it was strong, had not an immediate disbelief of the assertion attended it. She turned towards Lucy in silent amazement, unable to divine the reason of object of such a declaration, and though her complexion varied, she stood firm in incredulity and felt in no danger of an hysterical fit, or a swoon." (Austin 71)
She took a firm upper lip in the matter, and battered herself with what was constant introspection. Yet, outwardly Elinor held to lady-like fashion.
Marianne, on the other hand, enlightens readers with her “sensibility.” She is, for all justifying reasons, passionate, foolhardy, headstrong, and a lover. The romantic association with her denying the safety of the flesh is where “sense” migrates into “sensibility.”
"Two delightful twilight walks on the third and fourth evenings of her being there, not merely on dry gravel of the shrubbery, but all over the grounds and especially in the most distant parts of them, where there was something more of wildness than in the rest, where the trees were the oldest, and the grass was the longest and wettest, had—assisted by the still greater imprudence of sitting in her wet shoes and stockings—given Marianne a cold so violent . . . " (Austin 166)
This, of course, occurring after Marianne discovered that her love jilted her for money, shows the imprudence of romantic feelings.
Hence, in careful contemplation between the comparison of characters, and the comparison of lover ethics, in Austen’s “Sense and Sensibility,” shows that some simple quirks may jive, but the major facets contrast.
Edward fell in love with Lucy before ever meeting Elinor. Still, when the engagement was out in the open, he held true to his chivalry, denied his inheritance, denied his evolved love for Elinor, and would not recant the engagement to Lucy. Willoughby, on the other hand, left the first and second woman he intended for himself, denied love, denied his feelings, lost everything, and married for money--married a woman whose serpentlike cunning could, possibly, know no ends. This is shown when Willoughby is visiting with Elinor while Marianne is sick.
“Her wretchedness I could have borne, but her passion—her malice—at all events it must be appeased. And in short—what do you think of my wife’s stile of letter writing?—delicate—tender—truly feminine—was it not?" (Austen 178).
No, Edward’s relationship with Lucy and Elinor does in no way compare with Willoughby’s relationship to Eliza, Sophia, and Marianne, because there is a severe contrast within the shade of characters, character traits, and personal actions. The only two people or personal actions that can really compare in this novel are those of Lucy and Willoughby. Who, after many hardships changed their outlooks, and changed their initial feelings for something else.