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• W137204858 abstract "AUSTEN READERS have agreed for a long time that seeing and Sensibility as a didactic novel that prescribes to young women readers Elinor's sense and warns against Marianne's sensibility does not do justice to its complexity. Of course, the two eldest Dashwood sisters demonstrate contrasting modes of dealing with their lives and feelings, and clearly, Marianne's refusal to conceal her feelings of passion, boredom, despair, or agony nearly leads both sisters to ruin. But the novel does not simply endorse Elinor's self-command and hidden suffering or condemn Marianne's expressiveness. As Claudia Johnson pointed out long ago, Sense and Sensibility is not, as it is often assumed to be, a conduct patly favoring female prudence over female impetuosity (Jane Austen 50). One way to sort out why and Sensibility is not a dramatized conduct book is to identify aspects of the narrative voice of and Sensibility and the plotting that correspond to the observations and feelings of both young women. The language of this is strangely contentious, as though the narrator herself is angry at the mediocrity of some of her characters or at the exhausting triviality of social life. The tone of Austen's prose often sides with the sensibilities of both Dashwood sisters as they struggle to work out their contrasting ways of dealing with inexplicable suitors and demanding social obligations. The hostility in the narrator's language sometimes seems quite gratuitous. For example, when Elinor and Marianne see Robert Ferrars laboriously ordering a gold, ivory, and pearl-encrusted toothpick case before they even know who he is, the narrator says that Elinor imprints on her memory a face of strong, natural, sterling (251). The word insignificance registers a kind of narrative impatience with Robert Ferrars reflected also in the plot device of introducing him in the process of selecting a decorated toothpick case. Such bald pronouncements occur quite often. The Steele sisters' flattery of Middleton is, according to the narrator, perfectly acceptable to her: Fortunately for those who pay their court through such foibles, a fond mother, though, in pursuit of praise for her children, the rapacious of human beings, is likewise the credulous; her demands are exorbitant; but will swallow any thing (1:39). The narrator's language--most rapacious, most credulous, exorbitant, she will swallow any thing--seems to rise above the presentation of characters and stand independent of the plot as a stark statement of the narrator's own impatient anger at doting mothers and the impertinent encroachments and mischievous tricks of their children (1:39). For another example of verbal extremism, consider the narrator's musing after the first encounter between two privileged women the narrator intensely dislikes--Lady Middleton and Fanny Dashwood. The narrator exclaims that Mrs. John Dashwood finds Middleton one of the charming women in the world! She adds that, Lady Middleton was equally pleased with Mrs. Dashwood. There was a kind of cold hearted selfishness on both sides, which mutually attracted them; and they sympathised with each other in an propriety of demeanour, and a want of understanding (261). The ruthless selfishness of Fanny Dashwood, brilliantly in the novel's second chapter, is matched by Middleton's undramatically presented self-absorption, and here the narrator rather than the sisters explicitly draws the analogy between them. What is the source of this narrative hostility? In many instances, it seems directly to reflect the feelings and observations of the two heroines. The resemblance the narrator finds between Fanny Dashwood's and Middleton's insipid propriety, for example, reflects Marianne's dislike of meaningless conformity to social rules, and the narrator's judgment about those ladies' general want of understanding, echoes the impatience of both sisters at ignorant talk. …" @default.
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• W137204858 date "2011-01-01" @default.
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• W137204858 title "The Narrator's Voice and the Sense of Sense and Sensibility" @default.
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