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• W43695178 abstract "DISSATISFACTION WITH Marianne's marriage in Sense and Sensibility is perhaps so well-established on both emotional and critical levels that it may require no further discussion or citation. But in service of proposing yet one more reason for it, it is just as well to note some of the most prominent accounts of how Marianne and Jane Austen (by extension) disappoint us. Mary Poovey's sense that a promising critique of women's curtailed opportunities has been disrupted by the need for a patriarchal intervention of the marriage plot is perhaps challenged by Julie A. Schaffer's Marianne, whose ambiguities push back against a hegemonic interpretation of her education, or by Laura Mooneyham White's excellent, Churchillian observation that a marriage plot is the worst kind of plot, except for all of the others? But dissatisfaction remains, perhaps partially because we, like Mrs. Dashwood, do not see why Marianne should not marry Willoughby. Arguing that she simply cannot marry Willoughby according to the internal logic of the novel is nothing new or revolutionary. But I would like to suggest that this decision and our disappointment in it relate not to the ostensible plot reason (the revelation of Willougby's wickedness and inherent unsuitability on both moral and practical grounds) or even, strictly speaking, to the philosophical one (Marianne's tutelage in sense's discipline of sensibility, a binary that critics have been trying to explode for centuries). Rather, Marianne cannot marry Willoughby because of the internal economic logic of the novel, by which I do not mean their relative financial positions but the results we get when we view Sense and Sensibility as its own self-contained economy, a world created and governed according to the nascent rules of a discipline only just established in Austen's youth. (2) The novel's most relevant and overt articulation of its own economic assumptions occurs during the fireside conversation of the Dashwoods and Edward Ferrars, the famous discussion of the relationship between wealth and happiness. (3) The scene proceeds according to a strange, agglutinative logic, starting with Mrs. Dashwood's and Edward's conversation about fame. When Mrs. Dashwood either commends or condemns Edward for his moderate wishes where 'genius and eloquence' are concerned, and Edward agrees that '[g]reatness' will not make him happy, Marianne, who tends to synonymize words instead of parsing them for individual meaning, adds two curious terms that have not previously been a part of the conversation: 'What have wealth or grandeur to do with happiness?' Elinor's reply, meant to be emblematic of both her character and the good sense that she embodies, engages with Marianne's terms, but, as a chronic parser, she cannot allow the assumption of her sister's argument to stand: 'Grandeur has but little, ... but wealth has much to do with it' (105). It is easy to fall into the rhythms of this conversation without attending to its specific terms and definitions, but they make little sense without reference to eighteenth-century moral philosophy, particularly that of Adam Smith. Peter Knox-Shaw has already noted the close ties between The Theory of Moral Sentiments and Sense and Sensibility, but what remains to be seen is how closely the logic of all of the characters within it mirrors Smith's first articulation of the hand, known better, perhaps, from its use in The Wealth of Nations. (4) The invisible hand has primarily come down to us as an economic term, but in its original context, it enjoys a far more general breadth. In The Theory of Moral Sentiments it is a symptom of sympathy, the way in which we feel for others. For Smith, sympathy is always an imaginative act based upon our ability to enter creatively into the perceptions and feelings of another person. In eighteenth-century moral philosophy, it is a kind of glue holding the social world together, cementing personal relationships, then families, then nations, from microcosm to macrocosm, but for Smith, sympathy is also what is ultimately generative of the economy. …" @default.
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• W43695178 date "2012-01-01" @default.
• W43695178 modified "2023-09-26" @default.
• W43695178 title "John Willoughby, Luxury Good: Sense and Sensibility's Economic Curriculum" @default.
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