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Sense and Sensibility

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Jane Austen’s Sense and Sensibility: A look at the role letters play in the text.
Sense and Sensibility is constructed in the period of 1790 – 1810 under Georgian rule in England. This forms a vital role in deciphering the book by Jane Austen as societies’ expectations on woman were what gave inspiration to the book itself. Ascertaining their role to find a suitor, woman went out to find not only the greatest gentleman but also a man whom was wealthy enough to support her (and her children) and this was combined with their own societal status. During this period letter were seen as a formal way of communication and they were written in the highest English language known to the writer, it was never the case as in today’s society that it was a form of rumour or conversation.
Jane Austen got the ideas behind the book by contrasting two of the major characters against one another Elinor - “Sense” and Marianne - “Sensibility”. Elinor is the sense or wisdom she is all that is moral and just with the world within the book she does what is expected both looking after her family after the death of her father and behaviours which are expected of woman in the period. Marianne is the sensibility of vulnerability of emotions within the story she exhibits all the weaknesses in life of the period. The book unravels the story of both the siblings through the death of their father and how they battle to find an emotional and physical state of calm afterwards. It continues uncovering the relationships they discover in the quest to find the men they wish to make their companions. The book manages to epistolize the existence of the Dashwood women this goes to say that their lives are seen in form of letters. This creates exhilaration throughout the novel upon the wish of discovering a new letter. This is also an intelligent way of enforcing the reader on through the storyline. Reading the letters distracts them in a sense that they are not reading for enlightenment but rather after the scandal.
The first letter Willoughby wrote towards Marianne begins “My Dear Madam” (Austen in Johnson; 129) this may seem at first as a request for forgiveness towards his actions however opposed to a more sympathetic beginning such as “My Dear Marianne” or “dearest Marianne” exposes the reader to the fact that Willoughby possesses no remorse towards his actions which have ripped her heart apart. The way in which Willoughby writes is in a formal contrasted to a love stricken sense which leads the reader to believe the situation this not completely resolved and the manner in which he reacts by not only asking for forgiveness but also assigning blame towards both him and Marianne for creating the said situation. Another point is that not only does he accept his role to blame for the situation but tends to misconstrue it towards Marianne’s doing, this leaves her even more inconsolable than before. This is seen when he introduces “…my affections…long engaged elsewhere” (Austen in Johnson; 129) Willoughby not only is concise in his manner of letter writing but also disregards any feelings which Marianne could possibly still have towards him. Contrastingly to the rest of the letter Willoughby’s only remorse comes towards the end. Words such as “honoured,” “obligingly” and “bestowed” (Austen in Johnson; 130) shows his true feelings towards her. Notwithstanding the direct contradiction in the lines to follow, he then removes all dignity he could have possessed by ending “I am…most obedient humble servant…” this saying was in the time of the book the direct quote a woman would expect to hear from a suitor that was interested rather than not interested in her. Signing off with his full name is the ultimate blow to which Marianne’s discomfort can be measured.
Although not visible in the manner of which the book is written the next three letters written by Marianne Dashwood (M.D. [Austen in Johnson; 132-133]) to Willoughby were actually written prior to his letter of response to her. The writing within Marianne’s letter uses a more conversational form of English during the period of which similarly letters were known to be the bearers of news rather than conversation.
Marianne’s first letter is an invitation of sorts towards Willoughby to visit her at her aunt Mrs. Jennings’s at Barton cottage. This exposes us to Marianne’s true feelings for Willoughby and the ultimate desire for him to visit her whilst she finds herself in town. This letter also shed light on how Marianne never hesitated to take a chance [“opportunity of coming hither” (Austen in Johnson; 132)] to tempt [“temptation” (Austen in Johnson; 132)] him in being in the same town as he is in. This letter carries a sense of love struck over formality which is evident with the many pauses in the sentences which create a pace within the reading of it. It also uncovers the raw emotion Marianne happens to express constantly by pouring herself into the letter to which she believes she is engaged to the recipient.
Following the first letter follows Marianne's second letter which is a letter of dissatisfaction as well as a request to what is left of Willoughby’s sincerity to come and visit her. This letter is written after the fact that Willoughby has yet to respond to her first. She begins questioning their union and it seems that she is seeking a guarantee of it. She never questions his intentions as she is blinded by the love she has to him. Although she implies an answer without directly asking for it the final line of this letter she states clearly her request to Willoughby for “personal assurance of its being otherwise.” (Austen in Johnson; 133) A sense of affection towards Willoughby is still evident throughout this letter unlike in the one to follow.
The fourth letter in the book which is directly quoted is the third letter Marianne writes to Willoughby. This letter she expresses more antagonism than admiration towards him. The betrayal of him is finally evident towards her and she has just realised what kind of person Willoughby is by his behaviour at the Middleton’s dance. The feeling of which Marianne felt towards Willoughby now seem that they were never reciprocated this is a realisation to Marianne as she finally states that she although heartbroken is rid of him and that he “…will return my notes, and the lock of hair which is in your possession.” (Austen in Johnson; 133) Marianne is tired of pouring her emotions out to a source that is not interested or at least seems uninterested this final ultimatum is directed to Willoughby to answer. Much to her dismay Willoughby responds with: “…I obey your commands…returning the letters…the lock of hair…you…bestowed on me.” (Austen in Johnson; 130) this is the final affirmation of his disinterest in her.
The fifth letter quoted within Sense and Sensibility is that of Lucy’s to Elinor. Although it is a formal letter there are a few issues with which one can contest it. The language throughout is not kept to the same level and the proper introduction/addressing is also not that of which a person in Georgian England would expect. “Miss Dashwood”, “excuse the liberty”, “begging” (Austen in Johnson; 196) these utterances within the text show that Lucy views Elinor Dashwood as a higher stature with social hierarchy. One could initially misinterpret the origins of the letter as boastful or arrogant however it is truly sincere that Lucy has been reunited with her beloved Edward. Knowing that the Dashwood’s and Mrs. Jennings would have heard of Edward being disinherited Lucy also attempt to confide in their (The Dashwood’s and Mrs. Jennings’s) good nature by requesting that if the opportunity were to arise that they could afford Edward some employment that they were to please do so. But within appealing to their good nature she also manages to alienate her in the same manner by referring to Mrs. Jennings as “dear Mrs. Jennings” (Austen in Johnson; 196). Her signing off at the conclusion of the letter “I am, &c. &c.” shows both gratitude and respect for both Elinor and Mrs. Jennings.
The sixth and final directly quoted letter is from Lucy towards Edward Ferrars. In its entirety the letter is unwelcoming, abrupt and direct. It deals with the fact that due to Edward’s deceitfulness by falling for another whilst betrothed to Lucy Steele she has had to seek refuge in the affection of his brother. A very formal entry into the letter “Dear Sir” (Austen in Johnson; 258) can be seen as an emotional detaching from Edward by Lucy, designed wit its sole intent to hurt Edward by instilling a sense of guilt for leaving her “...scorn...ill-will...ill offices...” (Austen in Johnson; 258) Lucy manages to hurt Edward by marrying his brother and then deliberately in a footnote divulge that she has extinguished any evidence she has of their time together and at his discretion he is allowed to do so too. However she contradicts her ill-will towards Edward by feeling sympathy towards him by allowing him “...the ring with my hair you are very welcome to keep.” (Austen in Johnson; 258) This is humorous on her behalf to say, as she is no longer the custodian of his heart that is now the honour of Elinor Dashwood’s to take care of.
The placing of these letters within the book was a very clever way of instilling the story within the reader’s mind. These stories help affirm the story as they give evidence to its existence. The readers are encouraged to read the letter to which they are able to make their own conclusions to the emotions and intentions of both the recipient and the writer. The sense behind the letters is to affirm the story line with evidence of the emotions that are felt by all concerned. The sensibility is to disclose the emotion behind the story the things that we are not made aware of otherwise. This aids the reader by allowing them to feel part of the story and include their interpretation of the raw emotions and intentions within it. These letters form part of the narration within the story revealing key senses and the sensibility behind the grounds of the intuition behind those senses.

Reference list:
Austen, J. Eds. Johnson, CL. 2002. Sense and Sensibility: A Norton Critical Edition. New York: W.W. Norton & Company, Inc.

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