In Pride and Prejudice, Sense and Sensibility, and Emma, Austen's heroines discover She falls in love with Edward Ferrars, brother of the deliciously evil Fanny. by that second marriage, including Elinor, Marianne, and Margaret. working a double entendre, that notion relies on our modern definitions. After marrying Edward, Elinor settles down into a comfortable, happy life. Elinor Dashwood Quotes in Sense and Sensibility. The Sense and Sensibility quotes below are all either spoken by Elinor Dashwood or refer to Elinor Love and Marriage Theme Icon.). Definitions and examples of literary terms and devices. His relationship with Lucy is finally revealed at the end of the novel to be a The Sense and Sensibility quotes below are all either spoken by Edward Ferrars or refer to Edward Ferrars. Related Characters: Elinor Dashwood, Edward Ferrars , Lucy Steele Definitions and examples of literary terms and devices.
She becomes attached to Edward Ferrars, the brother-in-law of her elder half-brother, John. She sympathetically befriends Colonel Brandon, Marianne's long-suffering admirer and eventual husband. Always feeling a keen sense of responsibility to her family and friends, she places their welfare and interests above her own and suppresses her own strong emotions in a way that leads others to think she is indifferent or cold-hearted. For example, even though she is extremely distressed upon learning of Lucy Steele's secret engagement to Edward, Elinor keeps Lucy's secret and does not reveal her discomfort with the information.
While the book's narrative style is 3rd person omniscient, it is Elinor's viewpoint that is primarily reflected.
Thus, the description of most of the novel's characters and events reflects Elinor's thoughts and insights. Marianne Dashwood — the romantically inclined and eagerly expressive second daughter of Mr and Mrs Henry Dashwood.
Her emotional excesses identify her as the "sensibility" half of Austen's title. She is 16 years old at the beginning of the book. She is the object of the attentions of Colonel Brandon and Mr Willoughby.
She is attracted to young, handsome, romantically spirited Willoughby and does not think much of the older, more reserved Colonel Brandon. Marianne undergoes the most development within the book, learning her sensibilities have been selfish.
She decides her conduct should be more like that of her elder sister, Elinor. Edward Ferrars — the elder of Fanny Dashwood's two brothers.
He forms an attachment to Elinor Dashwood. Years before meeting the Dashwoods, Ferrars proposed to Lucy Steele, the niece of his tutor. The engagement has been kept secret owing to the expectation that Ferrars' family would object to his marrying Miss Steele. He is disowned by his mother on discovery of the engagement after refusing to give it up. John Willoughby — a philandering nephew of a neighbour of the Middletons, a dashing figure who charms Marianne and shares her artistic and cultural sensibilities.
It is generally presumed by many of their mutual acquaintances that he is engaged to marry Marianne partly due to her own overly familiar actions, i. He is also contrasted by Austen as being " He is 35 years old at the beginning of the book.
He falls in love with Marianne at first sight, as she reminds him of his father's ward whom he had fallen in love with when he was young. He is prevented from marrying the ward because his father was determined she marry his older brother.
He was sent into the military abroad to be away from her, and while gone, the girl suffered numerous misfortunes—partly as a consequence of her unhappy marriage. She finally dies penniless and disgraced, and with a natural i. He is a very honourable friend to the Dashwoods, particularly Elinor, and offers Edward Ferrars a living after Edward is disowned by his mother.
Minor characters[ edit ] Henry Dashwood — a wealthy gentleman, man of sternness who dies at the beginning of the story. The terms of his estate — entailment to a male heir — prevent him from leaving anything to his second wife and their children. He asks John, his son by his first wife, to look after meaning ensure the financial security of his second wife and their three daughters. Mrs Dashwood — the second wife of Henry Dashwood, who is left in difficult financial straits by the death of her husband.
She is 40 years old at the beginning of the book. Much like her daughter Marianne, she is very emotive and often makes poor decisions based on emotion rather than reason. She is thirteen at the beginning of the book.
She is also romantic and good-tempered but not expected to be as clever as her sisters when she grows older. John Dashwood — the son of Henry Dashwood by his first wife. He intends to do well by his half-sisters, but he has a keen sense of avariceand is easily swayed by his wife.
Revisiting Austen's Tale of Two Sisters, Marianne and Elinor in 'Sense and Sensibility"
She is vain, selfish, and snobbish. She spoils her son Harry. She is very harsh to her husband's half-sisters and stepmother, especially since she fears her brother Edward is attached to Elinor. Sir John Middleton — a distant relative of Mrs Dashwood who, after the death of Henry Dashwood, invites her and her three daughters to live in a cottage on his property.
Described as a wealthy, sporting man who served in the army with Colonel Brandon, he is very affable and keen to throw frequent parties, picnics, and other social gatherings to bring together the young people of their village.
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He and his mother-in-law, Mrs Jennings, make a jolly, teasing, and gossipy pair. Lady Middleton — the genteel, but reserved wife of Sir John Middleton, she is quieter than her husband, and is primarily concerned with mothering her four spoiled children. A widow who has married off all her children, she spends most of her time visiting her daughters and their families, especially the Middletons.
She and her son-in-law, Sir John Middleton, take an active interest in the romantic affairs of the young people around them and seek to encourage suitable matches, often to the particular chagrin of Elinor and Marianne. Robert Ferrars — the younger brother of Edward Ferrars and Fanny Dashwood, he is most concerned about status, fashion, and his new barouche. He subsequently marries Miss Lucy Steele after Edward is disinheritedbut whether he will remain his mother's heir since his brother was disinherited for having been engaged to Miss Lucy Steele in the first place is not revealed.
A bad-tempered, unsympathetic woman who embodies all the foibles demonstrated in Fanny and Robert's characteristics.
The theme of Love and Marriage in Sense and Sensibility from LitCharts | The creators of SparkNotes
She is determined that her sons should marry well. After having disowned her eldest son for his engagement to Lucy Steele, she probably also later disinherited her younger son for his marriage to the self-same girl.
Charlotte Palmer — the daughter of Mrs Jennings and the younger sister of Lady Middleton, Mrs Palmer is jolly, but empty-headed, and laughs at inappropriate things, such as her husband's continual rudeness to her and to others. Thomas Palmer — the husband of Charlotte Palmer who is running for a seat in Parliament, but is idle and often rude. He is considerate toward the Dashwood sisters. Lucy Steele — a young, distant relation of Mrs Jennings, who has for some time been secretly engaged to Edward Ferrars.
Limited in formal education and financial means, she is nonetheless attractive, manipulative, and scheming. Miss Sophia Grey — a wealthy and malicious heiress whom Mr Willoughby marries to retain his comfortable lifestyle after he is disinherited by his aunt.
Lord Morton — the father of Miss Morton. Miss Morton — a wealthy woman whom Mrs Ferrars wants her eldest son, Edward, and later Robert, to marry. Mr Pratt — an uncle of Lucy Steele and Edward's tutor. We learn of his true character along with Elinor, to whom Brandon relates his own personal history: Our initial predilection toward Willoughby compared to the staid Brandon is therefore unfounded.
Willoughby, like Lucy, exemplifies the deceptive character of both appearance and speech as a means for advancing amorous or other social conquests. But actions, not simply words, are what reveal character. Neither Eliza nor Marianne, both sixteen at the time of their encounters with Willoughby, stood a whit of a chance before the powers of his seduction: But even Willoughby recognizes that the pleasant may not be the same as the good: Despite the value Willoughby places on Marianne, his ultimate fate is to vacillate between his passion for women and his passion for luxury.Sense and Sensibility (2/8) Movie CLIP - Edward and Elinor (1995) HD
He thus trades in one source of incomplete enjoyment for another. His example makes plain that the passions of sex and money, when not grounded by wisdom, never provide true fulfillment or happiness but yield only temporary satisfaction. In the end, the manipulator is himself manipulated. Let us grant the sorry fate of the manipulator: Aware that she is being manipulated, she refuses to give in or run away.
Only after Willoughby finally departs does she realize what a formidable opponent she has been pitted against: The discussion among Elinor, Marianne, and Mrs. I have suggested that Colonel Brandon and Elinor both show the need for prudence to apply principle to action when the occasion calls for it.
Silence is a bad trait if taken to extremes and can be mistaken for passivity: Yet as her ultimate encounter with Willoughby illustrates, Elinor is not simply a silent and passive receptacle for the hardships and struggles that come her way.
She listens as much as she can to his story, before taking charge for the sake of her sister and family.
Elinor, whose silences are as meaningful as her speech, is the moral touchstone of the novel due to her judgment of the good and its practical approximation, to her ability to reconcile particular necessities with an ideal moral order. What then is the lesson that Sense and Sensibility teaches us in view of the Willoughbys and Lucy Steeles of the world? Bennet in Pride and Prejudice, or even Edward Ferrars.
Neither should the answer be to return cunning with equal duplicity in an effort to outwit charlatans at their own game, as typified by Sir Edward Denham in Sanditon or Mary and Henry Crawford in Mansfield Park. So Elinor, despite her modesty, decorum, and sense, is not quite the winner of these stakes, either. In some ways, we learn that Elinor is also quite like her depraved and materialistic foil, Lucy Steele, but only that Elinor is more proper about her own needs in relations to others; she has disciplined herself well so as not to want too much, whereas Lucy is pretty brazen about wanting money and having it.
If, as Susan C. Sense and Sensibility, like other Austen novels, is about central female characters in a capitalist society who are not like the other women, who are determined to avoid being copies of each other in an economic system that encourages and perhaps even requires, instant reproduction and thus, easy substitutions, and who ultimately have to distinguish themselves by being better than the other female characters.
In every book, the Austenian heroine, though fallible and flawed, triumphs because she is superior to other women in terms of wit, intelligence, morals, and personal conduct. In short, she is the better product. This is why a land-owning man like Darcy in Pride and Prejudice can go from being a toffee-nosed snob to a real catch in the space of the book—Darcy was a productive land-owner who put his land to good use by the labour of others, providing them with jobs and caring for their welfare in a distant but imposing way.
A real patriarch, a true gentleman, Austen-approved.