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invitation first. Fanny's mother, Mrs. Ferrars, is invited to dine with the family and their guests; during the dinner, she is rude to Elinor while being relatively warm towards Lucy. Afterwards, Anne believes that the
Ferrars family as a whole has become fond enough of Lucy to welcome her into the family, and betrays to Fanny Lucy's secret engagement to Edward Ferrars. As a result, the sisters are turned out of the house, and Edward is ordered by his wealthy mother to break off the engagement on pain of disinheritance. Edward, still sensitive of the dishonor of a broken engagement and how it would reflect poorly on Lucy Steele, refuses to comply. He is disinherited in favor of his brother, Robert, which gains Edward respect for his conduct and sympathy from Elinor and Marianne. Colonel Brandon shows his admiration by offering Edward the clerical living of a nearby parsonage, to enable him to marry Lucy after he is ordained. Marianne finally understands the silent heartache her sister has been enduring for the sake of self-respect and honor, in contrast with her own reckless behavior.
277:, a highly contagious disease, and it is believed that her life is in danger. The Palmers, concerned for their infant child, evacuate the house, leaving Marianne with Elinor, Mrs. Jennings, and Colonel Brandon. Elinor writes to Mrs. Dashwood to explain the gravity of the situation, and Colonel Brandon volunteers to go and bring Marianne's mother to Cleveland to be with her, perhaps for the last time. In the night, Willoughby arrives and reveals to Elinor that his love for Marianne was genuine and that losing her has made him miserable. He also reveals that when it was discovered that he had fathered a child, his cousin said she would forgive him if he married Miss Williams, but that he refused. He elicits Elinor's pity. She is disturbed by the callous way in which he talks of Miss Williams, his abandoned child, and his wife. However, she discerns sincerity in his appeal, and concludes that he acted out of weakness of character, not wickedness. They part with a handshake.
295:– the sensible and reserved eldest daughter of Mr and Mrs Henry Dashwood. She represents the "sense" half of Austen's title, although not exclusively. She is 19 years old at the beginning of the book. 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 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. Ever honourable, she feels she must not reveal Lucy Steele's secret engagement to Edward, even though it causes her great suffering. 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.
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the natural daughter of
Brandon's first love, also called Eliza, a young woman and close relation who was his father's ward and an heiress. She was pressured into an unhappy marriage to Brandon's elder brother, in order to shore up the family's finances, and that marriage ended in scandal and divorce while Brandon was abroad with the Army. After Colonel Brandon's father and brother died, he inherited the family estate and returned to find Eliza dying in a pauper's home, so Brandon took charge of raising her young daughter. Brandon says Marianne strongly reminds him of the elder Eliza for her sincerity and sweet impulsiveness. Brandon removed the younger Eliza to the country, and reveals to Elinor all of these details in the hope that Marianne could get some consolation in discovering Willoughby's true character.
825:" studies the effects of alienation upon Edward Ferrars. Edward is alienated from society because he lacks what Rowland calls "useful employment." According to Rowland, Edward's condition represents problems with the history of work in Western industrialised societies. Edward's alienation from work also represents "the culture evolution of work" as a "progressive estrangement from nonhuman nature." Rowland argues that human culture estranges people from nature rather than returning them to it. Marianne also suffers from this estrangement of nature as she is ripped from her childhood home where she enjoyed walking the grounds and looking at trees. Rowland thus connects both Edward's and Marianne's progressive discomfort throughout the novel to their alienation from nature.
327:– a close friend of Sir John Middleton. 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, Eliza, whom he loved when he was young. He was prevented from marrying Eliza because his father was determined that she should marry Brandon's older brother. Brandon was sent into the military abroad to be away from her, and while he was gone, Eliza suffered numerous misfortunes, partly as a consequence of her unhappy marriage. She finally died penniless and disgraced, and with a "natural" (i.e., extramarital) daughter, also named Eliza, who becomes the ward of the Colonel. He is a very honourable friend to the Dashwoods, particularly Elinor, and offers Edward Ferrars a
303:– the romantically inclined and eagerly expressive second daughter of Mr and Mrs Henry Dashwood. Her emotional excesses identify her as the "sensibility" of the book's title, although again, not exclusively (at the time, "sensibility" meant driven primarily by one's emotions). 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 that her indulgence in sensibility has been selfish. She decides that her conduct should be more like that of her elder sister, Elinor.
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because it might be disadvantageous to "our little Harry", Mrs
Dashwood soon forgets about Harry and it is made apparent her objections are founded in greed; Montolieu altered the scene by having Mrs Dashwood continuing to speak of "our little Harry" as the basis of her objections, completely changing her motives. When Elinor learns the Ferrars who married Lucy Steele is Robert, not Edward, Montolieu adds a scene, in which Edward, the Dashwood sisters and their mother all break down in tears while clasping hands, that was not in the original. Austen has the marriage of Robert Ferrars and Lucy Steele end well while Montolieu changes the marriage into a failure.
319:– a philandering cousin 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); however, he abruptly ends his acquaintance with the family and leaves just when an announcement of an engagement with Marianne seems imminent. It is later revealed that he becomes engaged to the wealthy Sophia Grey because of the ending of financial support from his cousin. He is also contrasted by Austen as being "a man resembling 'the hero of a favourite story'".
779:"uncommitted sorts" who "move on, more or less unencumbered, by human wreckage from the past." In other words, the men do not feel a responsibility to anyone else. Johnson compares Edward to Willoughby in this regard, claiming that all of the differences between them as individuals do not hide the fact that their failures are actually identical; Johnson calls them both "weak, duplicitous, and selfish," lacking the honesty and forthrightness with which Austen endows other "exemplary gentlemen" in her work. Johnson's comparison of Edward and Willoughby reveals the depressing picture about gentlemen presented in the novel.
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Elinor in confidence of her secret four-year engagement to Edward
Ferrars that started when he was studying with her uncle. Elinor realizes Lucy's visit and revelations are the result of her jealousy and cunning calculation. This helps Elinor understand Edward's recent sadness and behavior towards her. She acquits Edward of blame and pities him for being held to a loveless engagement to Lucy. Lucy extracts an unnecessary promise to keep her secret, which honor would have forbidden Elinor to speak of in any case.
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dominant issue in these legal conversations. Ruoff observes that, within the linear family, the order of male birth decides issues of eligibility and merit. When Robert
Ferrars becomes his mother's heir, Edward is no longer appealing to his "opportunistic" fiancée Lucy, who quickly turns her attention to the foppish Robert and "entraps him" in order to secure the inheritance for herself. According to Ruoff, Lucy is specifically aiming for the heir because of the monetary advantage. William Galperin, in his book
375:– 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 in the area. He and his mother-in-law, Mrs Jennings, make a jolly, teasing, and gossipy pair with no sense of how their meddling embarrasses others.
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202:, and Margaret. But John's wife, Fanny, persuades her husband to renege on the promise, appealing to his concerns about diminishing his own son Harry's inheritance, despite the fact that John is already independently wealthy and owns another lavish home in London. Henry's love for his second family is also used by Fanny to arouse her husband's jealousy, and persuade him not to help his sisters financially. He gives them nothing and the family must decide how to survive on a pitifully small income.
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engaged. Elinor cautions
Marianne against her unguarded conduct, but Marianne refuses to check her emotions. Willoughby engages in several intimate activities with Marianne, including taking her unchaperoned to see the home he expects to inherit one day and obtaining a lock of her hair. When the announcement of an engagement seems imminent, Willoughby instead informs the Dashwoods that his elderly cousin Mrs. Smith, upon whom he is financially dependent due to his debts, is sending him to
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sense. Edward later arrives and reveals that, after his disinheritance, Lucy jilted him and married his now wealthy younger brother, Robert. Elinor is overjoyed. Edward and Elinor marry, and later
Marianne marries Colonel Brandon, having gradually come to love him. The two couples live as neighbors, with sisters and husbands in harmony with each other. Willoughby considers Marianne as his ideal but the narrator tells the reader not to suppose that he was never happy.
548:"Sense" means good judgment, wisdom, or prudence, and "sensibility" means sensitivity, sympathy, or emotionality. Elinor is described as a character with great "sense" (although Marianne, too, is described as having sense), and Marianne is identified as having a great deal of "sensibility" (although Elinor, too, feels deeply, without expressing it as openly). By changing the title, Austen added "philosophical depth" to what began as a sketch of two characters.
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311:– 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 Edward's family would object to his marrying Miss Steele, who has no fortune. He is disowned by his mother on discovery of the engagement after refusing, out of a sense of duty, to give it up.
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having an "excellent heart" and being capable of the same romantic passions as
Marianne feels, while Marianne has much sense as well. Elinor is more reserved, more polite, and less impulsive than Marianne who loves poetry, taking walks across picturesque landscapes and believes in intense romantic relationships, but it is this very closeness between the sisters that allows these differences to emerge during their exchanges.
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467:(mother) – relative and former love interest of Colonel Brandon. She was Brandon's father's ward, and was pressured by him to marry Brandon's older brother in order to shore up the Brandon finances with her inheritance. The marriage was an unhappy one, and her husband divorced her on grounds of infidelity. It is revealed that her daughter was left as Colonel Brandon's ward when he found his lost love dying in a
387:– mother to Lady Middleton and Charlotte Palmer. 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 chagrin of Elinor and Marianne.
369:– the wife of John Dashwood, always referred to as "Mrs. John Dashwood" or "Fanny Dashwood" – not to conflict with "Mrs. Dashwood" (above) – and sister to Edward and Robert Ferrars. 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.
337:– a wealthy gentleman who dies at the beginning of the story. The terms on which he inherited his estate and his own death soon after prevent him from leaving anything of substance to his second wife and their children. He extracts a promise from John, his son by his first wife, to look after (meaning ensure the financial security of) his second wife and their three daughters.
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of £460 (about £15,000 in 2008 currency). She made a profit of £140 (almost £5,000 in 2008 currency) on the first edition, which sold all 750 printed copies by July 1813. A second edition was advertised in
October 1813. The novel has been in continuous publication through to the 21st century as popular and critical appreciation of all the novels by Jane Austen slowly grew.
663:" in that Austen's letters are "a misleading guide to the human heart which, in the best instances, is always changing and adapting." According to Favret, the character of Elinor Dashwood is an "anti-epistolary heroine" whose "inner world" of thoughts and feelings does not find "direct expression in the novel, although her point of view controls the story."
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especially in her keeping of Lucy Steele's secret and willingness to help Edward, even though both of these actions were hurtful to her, ultimately contribute to her own contentment and that of others. In this way, Poovey contends that Austen suggests that the submission to society that Elinor demonstrates is the proper way to achieve happiness in life.
421:– (never called "Miss Steele") a young, distant relation of Mrs Jennings, who has for some time been secretly engaged to Edward Ferrars. She assiduously cultivates the friendship of Elinor Dashwood and her mother. Attractive but limited in formal education and financial means, she affects affable innocence but is actually manipulative and scheming.
210:, visits Norland and his kindness immediately endears him to the Dashwood family. Although their attraction is palpable, Edward and Elinor's budding romance is never spoken of directly between them, but others take notice. Fanny offends Mrs. Dashwood by implying that Elinor is unworthy and must be motivated by his expectations of coming into money.
517:(1796), which features one sister full of rational sense and another sister of romantic, emotive sensibility, is considered to have been an inspiration as well. West's romantic sister-heroine also shares her first name, Marianne, with Austen's. There are further textual similarities, described in a modern edition of West's novel.
857:. Montolieu had only the most basic knowledge of English, and her translations were more "imitations" of Austen's novels as Montolieu had her assistants provide a summary of Austen's novels, which she then translated into an embellished French that often radically altered Austen's plots and characters. The "translation" of
677:, Elinor's letter is the "dutiful letter of the 'sensible sister'" and Marianne writes a "vaguely illicit letter" reflecting her characterisation as the "sensitive" sister. What is perhaps most striking about Favret's analysis is that she notes that the lovers who write to one another never unite with each other.
343:– this name always refers to the second wife of Henry Dashwood. She 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.
261:. Willoughby is revealed to be engaged to Miss Grey, a young lady with a large fortune. Marianne is devastated. After Elinor reads the letter, Marianne admits to her that she and Willoughby were never actually engaged. She behaved as if they were because she knew she loved him and thought that he loved her.
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experience some kind of female excess. Poovey argues that while Austen does recognise "the limitations of social institutions," she demonstrates the necessity of controlling the "dangerous excesses of female feeling" rather than liberating them. She does so by demonstrating that Elinor's self-denial,
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Marianne recovers from her illness, and Elinor tells her of
Willoughby's visit. Marianne realizes she could never have been happy with Willoughby's immoral, erratic, and inconsiderate ways. She values Elinor's more moderated conduct with Edward and resolves to model herself after her courage and good
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Country gentleman Henry Dashwood dies, unable to pass on the estate where he lived with his second wife and their three daughters. Norland Park is entailed to be inherited through the male line to John Dashwood, Henry's son by his first marriage, and thence to Harry Dashwood, the four-year-old son of
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The novel follows the three Dashwood sisters and their widowed mother as they are forced to leave the family estate at Norland Park and move to Barton Cottage, a modest home on the property of distant relative Sir John Middleton. There Elinor and Marianne experience love, romance, and heartbreak. The
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by Montolieu changes entire scenes and characters, for example having Marianne call Willoughby an "angel" and an "Adonis" upon first meeting him, lines that are not in the English original. Likewise, the scene where Mrs Dashwood criticises her husband for planning to subsidise his widowed stepmother
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explores these issues in a book-length discussion of the novel. Ruoff's first two chapters deal extensively with the subject of wills and the discourse of inheritance. These topics reveal what Ruoff calls "the cultural fixation on priority of male birth." According to Ruoff, male birth is by far the
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Austen wants to "recontextualize" the letter and bring it into a "new realism." Austen does so by imbuing the letter with dangerous power when Marianne writes to Willoughby; both their love and the letter "prove false." Additionally, Favret claims that Austen uses both of the sisters' letter writing
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establishes what Favret calls a "new privacy" in the novel, which was constrained by previous notions of the romance of letters. This new privacy is a "less constraining mode of narration" in which Austen's narrator provides commentary on the action, rather than the characters themselves through the
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has a "wobble in its approach", which developed because Austen, in the course of writing the novel, gradually became less certain about whether sense or sensibility should triumph. Austen characterises Marianne as a sweet person with attractive qualities: intelligence, musical talent, frankness, and
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further emphasises the novel's function as a type of conduct book. In this author's opinion, Austen's favouring of Elinor's temperament over Marianne's provides the lesson. The review claims that "the object of the work is to represent the effects on the conduct of life, of discreet quiet good sense
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As Marianne grieves, Colonel Brandon visits and reveals to Elinor that Willoughby seduced and abandoned Brandon's young ward, Miss Eliza Williams, who has his child. Willoughby's cousin subsequently disinherited him, and so, in great personal debt, he chose to marry Miss Grey for her money. Eliza is
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In 1811, Thomas Egerton of the Military Library publishing house in London accepted the manuscript for publication in three volumes. Austen paid to have the book published and paid the publisher a commission on sales. The cost of publication was more than a third of Austen's annual household income
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s ultimate message is that "young women like Marianne and Elinor must submit to powerful conventions of society by finding a male protector," women such as Mrs. Ferrars and Lucy Steele demonstrate how women can "themselves become agents of repression, manipulators of conventions, and survivors." In
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they educe the fact that Mr. John Dashwood sends his stepmother and half sisters from their home as well as promised income, as an instance of these effects. They also point to the "despised" Mrs. Ferrars's tampering with the patriarchal line of inheritance in her disowning of her elder son, Edward
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The Dashwood sisters stand apart as being virtually the only characters capable of intelligent thought and any sort of deep thinking. Brownstein wrote that the differences between the Dashwood sisters have been exaggerated, and in fact the sisters are more alike than they are different, with Elinor
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sees the accident and assists her, picking her up and carrying her to her home. Marianne is dazzled by his good looks and similar tastes in poetry, music, art, and romance. His frequent attentions and Marianne's effusive behavior lead Elinor and Mrs. Dashwood to suspect that the couple are secretly
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In addition to emphasising the novel's morality, Pollock reviews the characters in catalogue-like fashion, praising and criticising them in according to the notion that Austen favours Elinor's point of view and temperament. Pollock even praises Sir John Middleton and Mrs. Jennings, and comments on
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also concurs with Austen's attention to small things. Meynell claims that Austen deals in lesser characters and small matters because "that which makes life, art, and work trivial is a triviality of relations." In her attention to secondary characters, Meynell discusses the children's function to
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Meanwhile, the Steele sisters have come to London. After a brief acquaintance, they are asked to stay at John and Fanny Dashwood's London house. Lucy sees the invitation as a personal compliment, though it is actually a slight to Elinor and Marianne who, being family, should have received such an
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Elinor and Marianne accompany Mrs. Jennings to London. On arriving, Marianne writes several personal letters to Willoughby, which go unanswered. When they meet by chance at a dance, Willoughby is with another woman. He greets Marianne coldly, to her shock and disbelief. Elinor guides her from the
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critically examines the codes of propriety as well as their enforcement by the community. Key to Austen's criticism of society, runs Johnson's argument, is the depiction of the unfair marginalisation of women resulting from the "death or simple absence of male protectors." Additionally, the male
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The novel, which sold out its first print run of 750 copies in the middle of 1813, marked a success for its author. It had a second print run later that year. It was the first Austen title to be republished in England after her death, and the first illustrated Austen book produced in Britain, in
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Edward Ferrars pays a long-awaited visit to Barton Cottage, but seems unhappy. Elinor fears that he no longer has feelings for her, but she will not show her heartache. After Edward departs, sisters Anne and Lucy Steele, vulgar cousins of Mrs. Jennings, come to stay at Barton Park. Lucy informs
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has a "somber tone" in which conflict breaks out between Austen's engagement with her "self-assertive characters" and the moral codes necessary to control their potentially "anarchic" desires. Austen shows, according to Poovey, this conflict between individual desire and the restraint of moral
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Mrs. Jennings takes Elinor and Marianne to the country to visit her second daughter, Mrs. Charlotte Palmer, at her husband's estate, Cleveland, on their way back to their home in Devonshire. Marianne, still in misery over Willoughby's marriage, goes walking in the rain and becomes ill. She is
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departs from other early criticism in its sympathising with Marianne over Elinor, claiming that Elinor is "too good" a character. The article also differs from other reviews in that it claims that the "prevailing merit" of the book is not in its sketch of the two sisters; rather, the book is
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as well-written with well-supported and -drawn characters, realistic, and with a "highly pleasing" plot in which "the whole is just long enough to interest the reader without fatiguing." This review praises Mrs. Dashwood, the mother of the Dashwood sisters, as well as Elinor, and claims that
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from a female perspective and contend that these "reversals imply that male traditions need to be evaluated and reinterpreted from a female perspective." Gilbert and Gubar argue that Austen explores the effects of patriarchal control on women, particularly in the spheres of employment and
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403:– Fanny Dashwood and Edward and Robert Ferrars' mother. She is a bad-tempered, unsympathetic woman. She is determined that her sons should marry well. She disowns her eldest son for his engagement to Lucy Steele but her youngest son later marries the very same woman.
217:, on the estate of her cousin, Sir John Middleton. Their new home is modest, but they are warmly received by Sir John and welcomed into local society, meeting his wife, Lady Middleton, his mother-in-law, the garrulous but well-meaning Mrs. Jennings, and his friend,
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the capacity to love deeply. She also acknowledges that Willoughby, with all his faults, continues to love and, in some measure, appreciate Marianne. For these reasons, some readers find Marianne's ultimate marriage to Colonel Brandon an unsatisfactory ending.
221:. Colonel Brandon is attracted to Marianne, and Mrs. Jennings teases them about it. Marianne is irritated by her meddling, as she considers the thirty-five-year-old Colonel Brandon an old bachelor, incapable of falling in love or inspiring love in anyone.
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appears on the title page where the author's name might have been. It tells the story of the Dashwood sisters, Elinor (age 19) and Marianne (age 16½) as they come of age. They have an older half-brother, John, and a younger sister, Margaret (age 13).
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as a "dark and disenchanted novel" that views "institutions of order" such as property, marriage, and family in a negative light, an attitude that makes the novel the "most attuned to social criticism" of Austen's works. According to Johnson,
415:– the husband of Charlotte Palmer who is running for a seat in Parliament, but is idle, sarcastic, and often rude, particularly toward his wife. Surprisingly, he becomes much more congenial when hosting visitors in his own home.
409:– the daughter of Mrs Jennings and the younger sister of Lady Middleton, Mrs Palmer is pleasant and friendly but quite silly, and laughs at inappropriate things, such as her husband's continual rudeness to her and to others.
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is not, as it is often assumed to be, a "dramatized conduct book" that values "female prudence" (associated with Elinor's sense) over "female impetuosity" (associated with Marianne's sensibility). Rather, Johnson sees
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349:– the youngest daughter of Mr and Mrs Henry Dashwood. 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.
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Richard Bentley's Standard Novels series of 1833. The novel has been in continuous publication since 1811, and has many times been illustrated, excerpted, abridged, and adapted for stage, film, and television.
1225:"This day was published, in three vols. 12mo. price 15s. in boards, Sense and Sensibility, a Novel; By Lady A— Published by Thos. Egerton, Whitehall; and may be had of every bookseller in the United Kingdom"
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John and Fanny move in as the new owners of Norland Park, where the Dashwood women are treated as unwelcome guests by Fanny. Mrs. Dashwood urgently seeks somewhere else to live. Meanwhile, Fanny's brother,
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the humour of Mr. Palmer and his "silly wife." Pollock criticises Sir John Dashwood's selfishness without mentioning Fanny's influence upon them. He also criticises the Steele sisters for their vulgarity.
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A common theme of Austen criticism has been on the legal aspects of society and the family, particularly wills, the rights of first and second sons, and lines of inheritance. Gene Ruoff's book
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in the character of Colonel Brandon": both left for India at the age of seventeen; Hastings may have had an illegitimate daughter named Eliza; both Hastings and Brandon participated in a duel.
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comments on the tendency of this system of patriarchal inheritance and earning as working to ensure the vulnerability of women. Because of this vulnerability, Galperin contends that
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Mary Favret explores Austen's fraught relationship with epistolary fiction, claiming that Austen "wrestled with epistolary form" in previous writings and, with the publication of
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651:. This is a style of writing in which all of the action, dialogue, and character interactions are reflected through letters sent from one or more of the characters. In her book
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381:– 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.
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477:– the wealthy older cousin and benefactress of Mr Willoughby who disowns him for seducing and abandoning the young Eliza Williams, Col. Brandon's ward.
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contains "many sober and salutary maxims for the conduct of life" within a "very pleasing and entertaining narrative." W. F. Pollock's 1861 review from
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order to protect themselves and their own interests, Mrs. Ferrars and Lucy Steele must participate in the same patriarchal system that oppresses them.
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has figured in these discussions, especially about the patriarchal system of inheritance and earning. Sandra M. Gilbert and Susan Gubar's seminal
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edited by Claudia Johnson, contains a number of reprinted early reviews in its supplementary material. An "Unsigned Review" in the February 1812
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focused on the novel as providing lessons in conduct (which would be debated by many later critics), as well as reviewing the characters. The
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effective because of its "excellent treatment of the subordinate characters." Alice Meynell's 1894 article "The Classic Novelist" in the
355:– the son of Henry Dashwood by Henry's first wife. He initially intends to do well by his half-sisters, but he has a keen sense of
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party, hardly able to walk. Soon Marianne receives a curt letter enclosing their former correspondence and love tokens, including the
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in relation to authors and genres popular during Austen's time. One of the most popular forms of fiction in Austen's time was
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titled "British Novelists", is what editor Claudia Johnson terms an "early example of what would become the customary view of
439:– a wealthy heiress whom Mr Willoughby marries to retain his expensive lifestyle after he is disinherited by his cousin.
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has a lesson and moral which is made clear through the plot and the characters. Another "Unsigned Review" from the May 1812
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much like Austen's other fiction, has attracted a large body of criticism from many different approaches. Early reviews of
445:– wealthy daughter of Lord Morton – whom Mrs Ferrars wants her eldest son, Edward, and later Robert, to marry.
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The Proper Lady and the Woman Writer: Ideology as Style in the Works of Mary Wollstonecraft, Mary Shelley and Jane Austen
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490:) perhaps as early as 1795 when she was about 19 years old, or 1797, at age 21, and is said to have given it the title
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2013: A musical with a book and lyrics by Jeffrey Haddow and music by Neal Hampton received its world premiere by the
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1384:. By West, Jane. Looser, Devoney; O'Connor, Melinda; Kelly, Caitlin (eds.). Richmond, Virginia: Valancourt Books.
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on business, indefinitely. Marianne is distraught and Elinor and Mrs. Dashwood are confused and disappointed.
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1852:"Pride and Prejudice Economics: Or Why a Single Man with a Fortune of £4,000 Per Year is a Desirable Husband"
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2381:
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A Successful Novel Must Be in Want of a Sequel: Second Takes on Classics from The Scarlet Letter to Rebecca.
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to emphasise the contrasts in their personalities. When both of the sisters write letters upon arriving in
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696:
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shows marriage as the only practical solution "against the insecurity of remaining an unmarried woman."
3153:
1407:"Jane Austen, the Second Anglo-Mysore War, and Colonel Brandon's Forcible Circumcision: A Rereading of
1247:
806:
principles through the character of Elinor herself. Except for Elinor, all of the female characters in
733:
Ferrars, as proof that this construction is ultimately arbitrary. Gilbert and Gubar contend that while
591:
on the one hand, and an overrefined and excessive susceptibility on the other." The review states that
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2398:
1820:
Rowland, Susan (2013). "The 'Real Work': Ecocritical Alchemy and Jane Austen's Sense an Sensibility".
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2714:
2477:
1135:
952:
919:
709:
564:
525:
2141:"New Adaptation of Jane Austen Classic 'Sense And Sensibility' Illuminates Black History of the Era"
2635:
1633:
Brownstein, Rachel "Northanger Abbey, Sense and Sensibility, Pride and Prejudice" pages 32–57 from
1507:
996:
134:
2821:
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427:– (often called "Miss Steele") Lucy Steele's elder, socially inept, and less clever sister.
1328:
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2007:
948:
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850:
619:
224:
1999:
1499:
1406:
1206: published by UDON Entertainment's Manga Classics imprint was published in August 2016.
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approaches. Susan Rowland's article "The 'Real Work': Ecocritical Alchemy and Jane Austen's
194:
John. On his deathbed, Henry extracts a promise from John to take care of his half-sisters,
2867:
2724:
2664:
2470:
1764:
Johnson, Claudia (1988). ""Sense and Sensibility: Opinions Too Common and Too Dangerous"".
1734:
The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination
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by the publisher, bringing the characters into the present day and providing modern satire.
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She differs from previous critics, especially the earliest ones, in her contention that
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509:(1785) which he had written about himself and a relationship that was not meant to be.
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from other novels of the 1790s that treated similar themes, including Adam Stevenson's
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While out for a walk, Marianne gets caught in the rain, slips, and sprains her ankle.
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2011:
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2090:"Siri Siri Muvvalu to go off-air soon; actress Marina Abraham shares a thanks note"
1829:
1184:
is a mashup parody novel by Ben H. Winters, with Jane Austen credited as co-author.
1088:
1063:
1018:
487:
457:(daughter) – the ward of Col. Brandon, she is about 15 years old and bore an
710:
The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Imagination
486:
Jane Austen wrote the first draft of the novel in the form of a novel-in-letters (
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Barrows, Jen (Fall 2010). "The Jane Austen Industry and LONG TAIL MARKETING".
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in the United States. This adaptation features Black actors in the main roles.
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976:
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67:
2165:
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Literary Intermediality: The Transit of Literature Through the Media Circuit
1171:, a sequel in the form of an epistolary novel (Austen's original format for
532:. Hastings had been rumoured to be the biological father of Austen's cousin
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433:– an apothecary who treats Marianne when she falls ill at Cleveland.
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1300:. Baltimore, MD: Johns Hopkins University Press. pp. 106–7, 219–20.
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924:
782:
157:
153:
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49:
1498:
Pollock, W.F. (2002). ""British Novelists"". In Johnson, Claudia (ed.).
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for BBC television was dramatized by Denis Constanduros and directed by
787:
The Proper Lady and the Woman Writer: Ideology as Style in the Works of
397:. He subsequently marries Miss Lucy Steele after Edward is disinherited.
2587:
2374:
2002:
Jane Austen on Film and Television: A Critical Study of the Adaptations
1142:
1004:
984:
699:
critics have long been engaged in conversations about Jane Austen, and
139:
2233:"Review: A Whirlwind of Delicious Gossip in 'Sense & Sensibility'"
2346:
Manga Classics: Sense and Sensibility (2016) UDON Entertainment
1150:
1131:. It received its UK Premier in May 2023 by the Surrey Opera Company.
1001:
723:
653:
Romantic Correspondence: Women, Politics, and the Fiction of Letters,
468:
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Romantic Correspondence: Women, Politics, and the Fiction of Letters
624:"illustrate the folly of their mothers," especially Lady Middleton.
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2448:
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1231:. 30 October 1811. p. 1 – via British Newspaper Archive.
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Marianne's extreme sensibility makes her miserable. It claims that
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1049:
907:
356:
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2006:. Jefferson, North Carolina: McFarland & Company. pp.
1977:. Albany, NY: State University of New York Press. p. 263.
1950:. Albany, NY: State University of New York Press. p. 263.
1327:. London, England: The University of Wisconsin Press. pp.
988:
674:
246:
178:
174:
2462:
1974:
Jane Austen and Co.: Remaking the Past in Contemporary Culture
1947:
Jane Austen and Co.: Remaking the Past in Contemporary Culture
1554:
Sense and Sensibility: Authoritative Text, Contexts, Criticism
1536:
Sense and Sensibility: Authoritative Text, Contexts, Criticism
1502:
Sense and Sensibility: Authoritative Text, Contexts, Criticism
1478:
Sense and Sensibility: Authoritative Text, Contexts, Criticism
461:
child to John Willoughby. She has the same name as her mother.
1275:. Baltimore, MD: Johns Hopkins University Press. p. 19.
981:
610:
An anonymous piece titled "Miss Austen" published in 1866 in
494:. She later changed the form to a narrative and the title to
214:
104:
1141:
2016: The Bedlam theatrical troupe mounted a well-received
1014:
Kasthooriman went to remade into several Indian Languages:
2322:"Book review: Sense & Sensibility, By Joanna Trollope"
2058:"Why Ekta Kapoor tore off Kumkum Bhagya's script 5 times?"
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are depicted unfavourably. Johnson calls the gentlemen in
1138:
presented Joseph Hanreddy and J.R. Sullivan's adaptation.
1822:
Interdisciplinary Studies in Literature and Environment
1343:"... a man resembling "the hero of a favourite story"".
1175:) recounting the married lives of the Dashwood sisters.
1637:, Cambridge: Cambridge University Press, 1997 page 43.
2207:"'Sense and Sensibility': The Dashwoods come to PCPA"
2115:"Kannada daily show Bayasade Bali Bande goes off-air"
745:
Opinions Too Common and Too Dangerous" from her book
536:. Linda Robinson Walker argues that Hastings "haunts
19:
This article is about the novel. For other uses, see
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in April 2013, as staged by Tony-nominated director
451:– an uncle of Lucy Steele, and Edward's tutor.
228:
A 19th-century illustration by Hugh Thomson showing
213:
Mrs. Dashwood moves her family to Barton Cottage in
2166:"BBC Radio 4 – Jane Austen – Sense and Sensibility"
1359:. London: Frances Lincoln Publishers. p. 154.
160:, published in 1811. It was published anonymously;
1787:
1731:
1707:
1552:Meynell, Alice (2002). ""The Classic Novelist"".
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1908:pages 1–28, Vol. 8, No. 1, June 1953 pages 9–10.
991:is inspired from the core concept of the novel .
1874:
1872:
1670:. Cambridge University Press. pp. 145–153.
849:The novel was translated into French by Madame
1768:. University of Chicago Press. pp. 49–72.
1444:. New York: Infobase Publishing. p. 252.
2894:
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1943:
1934:pages 1–28, Vol. 8, No. 1, June 1953 page 18.
1921:pages 1–28, Vol. 8, No. 1, June 1953 page 16.
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1627:
1625:
3144:British novels adapted into television shows
1895:pages 1–28, Vol. 8, No. 1, June 1953 page 9.
1882:pages 1–28, Vol. 8, No. 1, June 1953 page 5.
1869:
1729:
1442:Bloom's Modern Critical Reviews: Jane Austen
747:Jane Austen: Women, Politics, and the Novel,
2377:has original text related to this article:
1944:Pucci, Suzanne R.; Thompson, James (2003).
1766:Jane Austen: Women, Politics, and the Novel
797:concurs with Johnson's on the dark tone of
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2901:
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2471:
2430:
2260:Jefferson, NC y Londres: McFarland, 2018.
1845:
1843:
1622:
837:The three volumes of the first edition of
520:Austen may have drawn on her knowledge of
34:
1730:Gilbert, Sandra M.; Gubar, Susan (1979).
1533:
1475:
1421:(1). Jane Austen Society of North America
40:Title page from the original 1811 edition
2291:
2230:
1930:King, Noel "Jane Austen in France" from
1917:King, Noel "Jane Austen in France" from
1904:King, Noel "Jane Austen in France" from
1891:King, Noel "Jane Austen in France" from
1878:King, Noel "Jane Austen in France" from
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832:
717:Gilbert and Gubar read the beginning of
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1997:
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331:after Edward is disowned by his mother.
3091:
3057:Sense and Sensibility and Sea Monsters
2204:
1785:
1665:
1635:The Cambridge Companion to Jane Austen
1547:
1545:
1404:
1380:Looser, Devoney (2015). Introduction.
1379:
1295:
1270:
1181:Sense and Sensibility and Sea Monsters
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80:, Military Library (Whitehall, London)
21:Sense and Sensibility (disambiguation)
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1556:. New York: Norton. pp. 320–321.
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1480:. New York: Norton. pp. 313–324.
1471:
1469:
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1204:Manga Classics: Sense and Sensibility
1357:Jane Austen: The World of Her Novels
1244:Jane Austen: The World of Her Novels
1149:and directed by Eric Tucker, from a
613:The Englishwoman's Domestic Magazine
1714:. University of Pennsylvania Press.
1690:Jane Austen's Sense and Sensibility
1604:. New York: Random House. pp.
1542:
1534:Anonymous (2002). ""Miss Austen"".
682:Jane Austen's Sense and Sensibility
13:
2138:
1808:
1772:
1746:
1738:. Yale University Press. pp.
1718:
1696:
1674:
1640:
1573:. New York: Random House. p.
1524:
1484:
1458:
1341:– via Google, Google Books.
1011:is also inspired from the novel .
181:, probably between 1792 and 1797.
14:
3170:
3134:British novels adapted into plays
3129:Works published under a pseudonym
3109:British novels adapted into films
2811:Georgian society in Austen novels
2360:
2320:Craig, Amanda (18 October 2013).
2231:Brantley, Ben (5 February 2016).
1850:Sanborn, Vic (10 February 2008).
1476:Anonymous (2002). "Early Views".
752:also gives a feminist reading of
551:
2863:
2862:
2765:Eliza de Feuillide (née Hancock)
2663:
2437:
2367:
2297:Sense & Sensibility: A Novel
2070:from the original on 4 June 2021
2036:. Peter Lang. 2007. p. 76.
1538:. New York: Norton. p. 318.
1193:Sense & Sensibility: A Novel
713:contains several discussions of
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2198:
2179:Kennedy, Lisa (18 April 2020).
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1991:
1964:
1937:
1924:
1911:
1898:
1885:
1794:. University of Chicago Press.
1591:
1560:
1405:Walker, Linda Robinson (2013).
1145:production that was adapted by
668:letters. Favret claims that in
188:
2205:Member, Brad (1 August 2016).
1433:
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1373:
1348:
1314:
1289:
1264:
1235:
1217:
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1:
2281:: 36–38 – via ProQuest.
1706:Galperin, William H. (2003).
1506:. New York: Norton. pp.
1210:
1157:
1125:Denver Center Theatre Company
940:is loosely based on the novel
284:
501:Austen drew inspiration for
7:
2760:Philadelphia Austen Hancock
2447:public domain audiobook at
2256:Gómez-Galisteo, M. Carmen.
1195:as a part of series called
945:three-episode BBC TV series
10:
3175:
3149:Novels adapted into comics
1971:Pucci, Suzanne R. (2003).
1932:Nineteenth-Century Fiction
1919:Nineteenth-Century Fiction
1906:Nineteenth-Century Fiction
1893:Nineteenth-Century Fiction
1880:Nineteenth-Century Fiction
1248:Frances Lincoln Publishers
971:, directed by Angel Gracia
962:, directed by Brian Brough
18:
3067:
3040:
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2987:Kandukondain Kandukondain
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2783:
2703:
2672:
2661:
2620:
2579:
2520:
2513:
2500:
1355:Le Faye, Deirdre (2002).
1324:Searching for Jane Austen
1298:The Making of Jane Austen
1273:The Making of Jane Austen
1242:Le Faye, Deirdre (2002).
1136:Utah Shakespeare Festival
920:Kandukondain Kandukondain
870:
526:Governor-General of India
129:
116:
102:
94:
84:
73:
63:
55:
45:
33:
16:1811 novel by Jane Austen
2636:The Beautifull Cassandra
1598:Tomalin, Claire (1997).
1567:Tomalin, Claire (1997).
1321:Auerbach, Emily (2004).
1296:Looser, Devoney (2017).
1271:Looser, Devoney (2017).
1117:
1095:
817:criticism also includes
543:
482:Development of the novel
2822:A Memoir of Jane Austen
2650:Catharine, or The Bower
1692:. Harvester Wheatshaff.
889:seven-episode TV series
604:Sense and Sensibility."
565:Norton Critical Edition
2755:Thomas Langlois Lefroy
2643:The History of England
1440:Bloom, Harold (2009).
960:Scents and Sensibility
842:
799:Sense and Sensibility.
754:Sense and Sensibility.
743:Sense and Sensibility:
735:Sense and Sensibility'
715:Sense and Sensibility.
670:Sense and Sensibility,
657:Sense and Sensibility,
569:Sense and Sensibility,
557:Sense and Sensibility,
528:, in her portrayal of
237:
156:by the English author
29:Sense and Sensibility
3139:Novels about nobility
3114:Novels by Jane Austen
3099:Sense and Sensibility
3030:Sense and Sensibility
3022:Sense and Sensibility
3014:Sense and Sensibility
2967:Sense and Sensibility
2915:Sense and Sensibility
2529:Sense and Sensibility
2458:Sense and Sensibility
2444:Sense and Sensibility
2424:Sense and Sensibility
2413:Sense and Sensibility
2399:Sense and Sensibility
2382:Sense and Sensibility
1998:Parrill, Sue (2002).
1786:Poovey, Mary (1984).
1666:Favret, Mary (1993).
1409:Sense and Sensibility
1173:Sense and Sensibility
1107:Sense and Sensibility
1087:, an adaptation from
1085:Sense and Sensibility
859:Sense and Sensibility
855:Raison et Sensibilité
851:Isabelle de Montolieu
839:Sense and Sensibility
836:
823:Sense and Sensibility
815:Sense and Sensibility
808:Sense and Sensibility
803:Sense and Sensibility
801:Poovey contends that
777:Sense and Sensibility
773:Sense and Sensibility
768:Sense and Sensibility
763:Sense and Sensibility
758:Sense and Sensibility
730:Sense and Sensibility
719:Sense and Sensibility
701:Sense and Sensibility
691:Sense and Sensibility
665:Sense and Sensibility
645:Sense and Sensibility
643:Many critics explore
633:Sense and Sensibility
593:Sense and Sensibility
582:Sense and Sensibility
577:Sense and Sensibility
561:Sense and Sensibility
538:Sense and Sensibility
503:Sense and Sensibility
496:Sense and Sensibility
227:
149:Sense and Sensibility
135:Sense and Sensibility
3159:Novels about sisters
3124:Novels set in Sussex
2725:Edward Austen Knight
2275:Yale Economic Review
1688:Ruoff, Gene (1992).
1129:Marcia Milgrom Dodge
455:Eliza Williams (Jr.)
3119:Novels set in Devon
3104:1811 British novels
3049:The Secrets of Love
2848:Miss Austen Regrets
2730:Henry Thomas Austen
2629:Love and Freindship
2537:Pride and Prejudice
1856:Jane Austen's World
1834:10.1093/isle/ist021
1601:Jane Austen: A Life
1570:Jane Austen: A Life
1415:Persuasions On-Line
1169:Elinor and Marianne
1054:Bayasade Bali Bande
829:Publication history
789:Mary Wollstonecraft
687:The History Austen,
492:Elinor and Marianne
425:Anne "Nancy" Steele
122:Pride and Prejudice
30:
2995:From Prada to Nada
2801:In popular culture
2750:Anna Austen Lefroy
2715:Rev. George Austen
2680:Jane Austen Centre
2237:The New York Times
2119:The Times of India
2094:The Times of India
2063:The Times of India
1710:The History Austen
1197:The Austen Project
968:From Prada to Nada
917:adaptation titled
900:theatrical release
843:
721:as a retelling of
649:epistolary fiction
627:Austen biographer
598:Frasier's Magazine
534:Eliza de Feuillide
373:Sir John Middleton
238:
232:cutting a lock of
171:South West England
28:
3154:1811 debut novels
3086:
3085:
2979:List of accolades
2940:Marianne Dashwood
2876:
2875:
2816:Reception history
2806:Styles and themes
2770:Catherine Hubback
2659:
2658:
2418:Project Gutenberg
2299:. HarperCollins.
2211:Santa Maria Times
1451:978-1-60413-397-4
1040:Siri Siri Muvvalu
661:Samuel Richardson
620:Pall Mall Gazette
347:Margaret Dashwood
300:Marianne Dashwood
145:
144:
95:Publication place
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2735:Cassandra Austen
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2561:Northanger Abbey
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2456:of locations in
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2391:Download as ePub
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2293:Trollope, Joanna
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1221:
1187:In 2013, author
1089:Hallmark Channel
951:and directed by
906:and directed by
891:was directed by
741:In the chapter "
728:inheritance. In
515:A Gossip's Story
437:Miss Sophia Grey
407:Charlotte Palmer
259:lock of her hair
169:novel is set in
117:Followed by
106:
86:Publication date
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2950:Colonel Brandon
2945:John Willoughby
2930:Elinor Dashwood
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2791:Causes of death
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2611:Plan of a Novel
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902:was adapted by
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573:Critical Review
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530:Colonel Brandon
522:Warren Hastings
488:epistolary form
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361:genteel poverty
324:Colonel Brandon
316:John Willoughby
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2720:James Austen
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2330:. Retrieved
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2148:. Retrieved
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2122:. Retrieved
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2072:. Retrieved
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1973:
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1859:. Retrieved
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1423:. Retrieved
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1165:Emma Tennant
1153:run in 2014.
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25:
2910:Jane Austen
2851:(2007 film)
2843:(2007 film)
2595:The Watsons
2494:Jane Austen
2150:25 February
1147:Kate Hamill
1111:BBC Radio 4
1074:Star Jalsha
1062:2020–2021:
1048:2019–2020:
1034:2019–2020:
1029:Star Pravah
1024:Chhatriwali
1017:2018–2019:
925:Rajiv Menon
882:David Giles
866:Adaptations
819:ecocritical
783:Mary Poovey
465:Eliza (Sr.)
443:Miss Morton
419:Lucy Steele
401:Mrs Ferrars
158:Jane Austen
154:first novel
50:Jane Austen
3093:Categories
3006:Television
2974:Soundtrack
2923:Characters
2832:Portrayals
2708:and people
2588:Lady Susan
2569:Persuasion
2375:Wikisource
2216:4 February
2190:6 February
1246:. London:
1211:References
1191:published
1167:published
1158:Literature
1143:minimalist
1134:2014: The
1005:soap opera
994:2017–2021:
985:soap opera
878:adaptation
285:Characters
230:Willoughby
215:Devonshire
140:Wikisource
2621:Juvenilia
2124:12 August
2099:12 August
2074:12 August
1861:27 August
1151:repertory
1101:In 2013,
1002:Malayalam
1000:, Indian
980:, Indian
876:1971: An
724:King Lear
511:Jane West
475:Mrs Smith
469:poorhouse
431:Mr Harris
162:By A Lady
74:Publisher
2868:Category
2784:Analysis
2603:Sanditon
2505:Timeline
2449:LibriVox
2328:. London
2295:(2013).
2242:14 April
2068:Archived
1105:adapted
1044:Star Maa
943:2008: A
913:2000: A
898:1995: A
887:1981: A
705:feminist
697:Feminist
575:praises
449:Mr Pratt
395:barouche
234:Marianne
200:Marianne
111:44961362
56:Language
2970:(1995)
2796:Janeite
2694:Library
1606:156–157
1064:Bengali
1050:Kannada
1019:Marathi
1009:Asianet
908:Ang Lee
357:avarice
236:'s hair
152:is the
59:English
3079:(2014)
3068:Others
3060:(2009)
3052:(2005)
3041:Novels
3033:(2008)
3025:(1981)
3017:(1971)
2998:(2011)
2990:(2000)
2705:Family
2673:Places
2572:(1818)
2564:(1818)
2556:(1816)
2548:(1814)
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1178:2009:
1083:2024:
1036:Telugu
989:Zee TV
974:2014:
965:2011:
958:2011:
930:2006:
871:Screen
841:, 1811
675:London
329:living
247:London
196:Elinor
179:Sussex
177:, and
175:London
124:
46:Author
2959:Films
2580:Minor
2521:Major
2514:Works
1742:–172.
1202:2016:
1118:Stage
1096:Radio
982:Hindi
915:Tamil
707:work
544:Title
64:Genre
2553:Emma
2348:ISBN
2334:2016
2301:ISBN
2244:2016
2218:2019
2192:2020
2152:2024
2126:2024
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2076:2024
2038:ISBN
2012:ISBN
1979:ISBN
1952:ISBN
1863:2016
1796:ISBN
1610:ISBN
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1512:ISBN
1446:ISBN
1427:2020
1386:ISBN
1361:ISBN
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1302:ISBN
1277:ISBN
1252:ISBN
1109:for
130:Text
105:OCLC
2912:'s
2454:Map
2426:at
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2008:191
1830:doi
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1575:155
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1072:on
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