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• W143149314 abstract "ONE OF THE HANDICRAFT ITEMS upon which genteel Georgian and Regency women plied their creative energies, and by which they demonstrated their accomplishlnent, was the screen. Some firescreens sat on their own legs, but the smaller, face screen was a round frame made of thin wood, covered with crisped paper or cloth, and adorned with painting or embroidery. It had a handle by which a lady might hold the screen between her face and the fire. In some aristocratic and less prestigious venues, such screens were necessary in order that Madame's white, wax-based lip salve and other face makeup might not melt and run. However, where fashion favored the natural look in women's complexions, in Jane Austen's fictional households, these items were more purely decorative than functional. They served art objects and props to be toyed with in company, much one might manipulate a fan. But whereas a fan had the primary purpose of moving the air, the screen's sole concern was with occlusion: protecting one's face by concealing it through the insertion of an intermediary device. This screening function of substituting another, more decorative view in order to conceal and protect a potentially incendiary reality echoes throughout the novels and their film adaptations, particularly Sense and Sensibility. Not only firescreens, but also landscape screens, and even the modern movie screen embody and symbolize the work of providing physical, social, and conceptual cover for the novel's characters, readers, and viewers. Significantly, the firescreen an object appears in the novels in conjunction with discussions of a woman's worth. In Pride and Prejudice, Mr. Darcy coldly disparages so-called accomplished women who can do nothing more than net purses or cover screens (39). His friend Bingley, never concerned with appearances, is not, however, so critical of the art, nor is Sense and Sensibility's always tactful Colonel Brandon. In a symbolic drawing-room scene in Sense and Sensibility, Colonel Brandon warmly admire[s] a pair of screens that Elinor has painted, which are then handed round for general inspection (234-35). Elinor's handiwork being slighted by Mrs. Ferrars, Marianne takes the screens out of her sister-in-law's hands and indignantly admires them herself as they ought to be admired (235). In this scene, the screens suggest Elinor herself, reticent, unobtrusive, and receiving notice or appreciation from only a few intimates. Further, they hint at the social screening that Elinor performs in her family and among her associates, and imply that this screening is a feminine function. [ILLUSTRATION OMITTED] Edward Neill remarks of this scene that when Marianne draws attention to Elinor's accomplishment, she is in fact deliberately removing the unspoken social screens that hide the opprobrium that fills the room because the other women suspect Elinor has designs on Edward Ferrars (116). Indeed, Marianne is no advocate for screening in general, nor is she a practitioner of it. Tony Tanner has observed that, while society is maintained by forms, screens, and necessary lies, Marianne doesn't play along (15). In fact, Marianne is most often the beneficiary of Elinor's attempts at screening. Throughout the novel, Elinor functions a protective screen by inserting herself between the impetuous and volatile Marianne and a critical society in order to save face for both Marianne and their family. One typical example of this physical screening occurs earlier in the novel, when Marianne sees a gentleman approaching and is sure it must be Willoughby. She walked eagerly on she spoke; and Elinor, to screen Marianne from particularity, she felt almost certain of its not being Willoughby, quickened her pace and kept up with her. They were soon within thirty yards of the gentleman. Marianne looked again; her heart sunk within her. (86) Here Marianne is shielded by the proximity of Elinor's person from the embarrassment of calling out to the wrong man, which she does not consider beforehand. …" @default.
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• W143149314 date "2011-01-01" @default.
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• W143149314 title "Screens and Screening in Sense and Sensibility" @default.
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