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SENSE AND SENSIBILITY has more twists to its plot than should be allowed, and is far too complex for reconstruction here. Suffice it to say that in Elinor and Marianne Dashwood we are presented with contrasting qualities of character, the one practical and conventional, the other emotional and sentimental. The outcome turns on these young women mastering their primary characteristics and finding true happiness when in the one sense gives way to sensibility, and in the other sensibility to sense.
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LibraryThing member beserene
One doesn't really review Jane Austen, so much as bask in the elegance and wit of her prose and wonder at such auspicious beginnings. 'Sense and Sensibility' was Austen's first published novel -- though she had written significant juvenalia and an unpublished epistolary novel, 'Lady Susan', before writing this one -- and as many other LTers have noticed, her craft still bears a little youth when this freshman effort is compared to her greater masterpieces. Even so, there is nothing bad, or even mediocre, about the book.
Anyone who has ever had a sister can appreciate and connect with Austen's two heroines, Elinor and Marianne Dashwood. The two, early in the novel, are opposites in perspective, expression and, of course, sense. Marianne is the angsty teenager, Elinor the elder, calmer, more pragmatic young adult. For sisters, their relationship is relatively typical: the younger drama queen thinks she knows it all; the elder goody two-shoes frets in overly-maternal fashion and tries to gently enlighten her sister about how the world really works. Of course, in the context of the reserved Regency period, their interactions are much more sedate than the melodrama to which 21st century television has accustomed the current reader, but genuine emotion -- love, heartbreak, frustration, respect, injury -- pervades their connection.
The core of the novel is the transformation of these two young women. Over the span of the plot, they become each a little bit more like the other (with significant transformative weight given to the common sense and reserve of Elinor, who is the obvious role model throughout -- she becomes a little bit more open, like Marianne, while Marianne becomes a great deal more like her in comparison) and each a little wiser in the world. Of course, the mechanism of their respective transformations involves romantic love, foolishness and family interference, as much of life does.
The gentlemen who provide agency of transformation range from the tragically selfish Willoughby to the solidly dependable Edward. For my money, however, the ideal male figure in the novel is Colonel Brandon, who offers up a mysterious and sad history that could have graced a Gothic character, combined with gentlemanly manners, unflagging devotion, and a quiet, eternal romanticism. Each of these characters is fleshed with particular realism but highlighted with a certain glow of the ideal that makes them appealing when the novel needs them to be so.
The true masterpieces of this particular Austen novel, however, are the characters who are utterly untouched by any ideal. However fond we might be of our heroines and their love interests, it is the rest of the cast -- each character pocked and pitted with personality quirks ranging from the quixotic to the flat-out bitchy -- that makes the book a genuine pleasure. From the early chapters, in which Fanny Dashwood's snipes about money and property prompt the reader's ire and humor, through the hilarity of Mrs. Jennings' ridiculousness, to the deliciously snide self-righteousness of Miss Lucy Steele, the novel is thoroughly populated with satire and social indictment. Austen's eye for the true ridiculousness of humanity makes the genius here.
Overall, while some may not find this to be a quick and bright as Austen's pinnacle, the novel does present a rich reading experience, authenticity of emotion, and brilliant satirical observations. Granted, I am biased, as a Jane Austen fan of long-standing and having read the novel several times, but for me the bottom line is this: 'Sense and Sensibility' is exactly what a classic ought to be.… (more)
Anyone who has ever had a sister can appreciate and connect with Austen's two heroines, Elinor and Marianne Dashwood. The two, early in the novel, are opposites in perspective, expression and, of course, sense. Marianne is the angsty teenager, Elinor the elder, calmer, more pragmatic young adult. For sisters, their relationship is relatively typical: the younger drama queen thinks she knows it all; the elder goody two-shoes frets in overly-maternal fashion and tries to gently enlighten her sister about how the world really works. Of course, in the context of the reserved Regency period, their interactions are much more sedate than the melodrama to which 21st century television has accustomed the current reader, but genuine emotion -- love, heartbreak, frustration, respect, injury -- pervades their connection.
The core of the novel is the transformation of these two young women. Over the span of the plot, they become each a little bit more like the other (with significant transformative weight given to the common sense and reserve of Elinor, who is the obvious role model throughout -- she becomes a little bit more open, like Marianne, while Marianne becomes a great deal more like her in comparison) and each a little wiser in the world. Of course, the mechanism of their respective transformations involves romantic love, foolishness and family interference, as much of life does.
The gentlemen who provide agency of transformation range from the tragically selfish Willoughby to the solidly dependable Edward. For my money, however, the ideal male figure in the novel is Colonel Brandon, who offers up a mysterious and sad history that could have graced a Gothic character, combined with gentlemanly manners, unflagging devotion, and a quiet, eternal romanticism. Each of these characters is fleshed with particular realism but highlighted with a certain glow of the ideal that makes them appealing when the novel needs them to be so.
The true masterpieces of this particular Austen novel, however, are the characters who are utterly untouched by any ideal. However fond we might be of our heroines and their love interests, it is the rest of the cast -- each character pocked and pitted with personality quirks ranging from the quixotic to the flat-out bitchy -- that makes the book a genuine pleasure. From the early chapters, in which Fanny Dashwood's snipes about money and property prompt the reader's ire and humor, through the hilarity of Mrs. Jennings' ridiculousness, to the deliciously snide self-righteousness of Miss Lucy Steele, the novel is thoroughly populated with satire and social indictment. Austen's eye for the true ridiculousness of humanity makes the genius here.
Overall, while some may not find this to be a quick and bright as Austen's pinnacle, the novel does present a rich reading experience, authenticity of emotion, and brilliant satirical observations. Granted, I am biased, as a Jane Austen fan of long-standing and having read the novel several times, but for me the bottom line is this: 'Sense and Sensibility' is exactly what a classic ought to be.… (more)
LibraryThing member Smiler69
Sisters Elinor Dashwood, the elder and reasonable one, and Marianne Dashwood, the younger and impetuous one, are at the heart of this romantic novel. Their father has passed away, leaving the bulk of his fortune to his son John from a previous marriage, entrusting him with the care of his sisters and step-mother. But John's wife Fanny, a selfish and wonderfully disagreeable woman, soon convinces him that the best he can do is to give them nothing at all and store away the bulk of his inheritance for their young son's future prosperity. Money plays a large part in this novel, as does the importance of marrying into it, and the sisters, with their limited fortune must consider marrying well. While taking a walk one day, Marianne trips and falls to be immediately rescued by the dashing young Willoughby, who conveniently happens to be walking by at that moment. With all the ardour of her immaturity and spirit, and with Willoughby's constant attention, Marianne falls hopelessly in love and it is quickly assumed that the young couple are engaged to be married, but Marianne is soon bitterly disappointed by the young playboy and much drama ensues. Meanwhile, Elinor discretely pines after her Edward only to discover one day that he is secretly engaged, but she suffers in silence as Marianne stomps around pouting and crying bitter tears and falls dangerously ill from a broken heart. Many complications ensue. Then, many sudden convenient plot twists occur, and both ladies find love and eternal wedded bliss and material comfort after all. The End.
This was my fist Jane Austen novel and I was at first immediately charmed by her irony and the witty dialogue, in particular when describing the unpleasant Fanny Dashwood and other secondary characters, such as Edward's fiancée Lucy Steele. But the drama! The bitter disappointments! The dashed hopes which are magically restored! It was too much like a soap opera for me and I couldn't help but groan and wish for zombies to come in and bite people's heads off, even though zombies really aren't my thing. Will I read more Austen novels? Yes, I plan on reading Pride and Prejudice next. Am I likely to be counted among Austen's legions of devoted fans? Not likely, if I don't find a stronger injection of irony thrown into the mix. But one can always hope.… (more)
This was my fist Jane Austen novel and I was at first immediately charmed by her irony and the witty dialogue, in particular when describing the unpleasant Fanny Dashwood and other secondary characters, such as Edward's fiancée Lucy Steele. But the drama! The bitter disappointments! The dashed hopes which are magically restored! It was too much like a soap opera for me and I couldn't help but groan and wish for zombies to come in and bite people's heads off, even though zombies really aren't my thing. Will I read more Austen novels? Yes, I plan on reading Pride and Prejudice next. Am I likely to be counted among Austen's legions of devoted fans? Not likely, if I don't find a stronger injection of irony thrown into the mix. But one can always hope.… (more)
LibraryThing member lyzadanger
At this point I feel like I could easily write a computer program to write a passable Austen novel. Sure, she's droll and she invented an entire genre; she made social commentary where social commentary was otherwise essentially impossible for someone of her gender and station.
I'm just kind of done with Austen. Engagements and secret affairs and dances and going to London during the season. Families full of daughters. Country estates.
All good. All well-written. All in all an easy and quick read. The good guy generally wins. The good girl always does. The good girl then serves to deliver slightly heavy-handed moral allegory. Not that the morals are in any way not those that we should strive for--it's just a bit of a pretty picture.
Highlights include the adolescent pleasure that the emotional middle daughter Marianne takes in the intensity of her deepest heartbreak, coming down with the inevitable serious fever after distraught, long, solo walks in wet long grass, moping in an estate's chintzy, teen-pathos-eliciting, faux-Grecian 'temple.' Sir John Middleton with his sherry-fueled grins and hunting dogs makes a gorgeous caricature of the jolly English landed gentry.
Unlike in Pride and Prejudice, however, Austen's jibes at the banal conceit of certain characters lack the subtlety that her later novels have. Funny, yes, biting, still, but so obvious as to be somewhat dulled in their impact. But, in its defense, the book's characters, at least some of them, are flawed in some appealing ways: Elinor's holier than thou moralizing, their mother's mawkish mothery-ness, and Willoughby's--well, I'll leave it to you to find out about Willoughby.… (more)
I'm just kind of done with Austen. Engagements and secret affairs and dances and going to London during the season. Families full of daughters. Country estates.
All good. All well-written. All in all an easy and quick read. The good guy generally wins. The good girl always does. The good girl then serves to deliver slightly heavy-handed moral allegory. Not that the morals are in any way not those that we should strive for--it's just a bit of a pretty picture.
Highlights include the adolescent pleasure that the emotional middle daughter Marianne takes in the intensity of her deepest heartbreak, coming down with the inevitable serious fever after distraught, long, solo walks in wet long grass, moping in an estate's chintzy, teen-pathos-eliciting, faux-Grecian 'temple.' Sir John Middleton with his sherry-fueled grins and hunting dogs makes a gorgeous caricature of the jolly English landed gentry.
Unlike in Pride and Prejudice, however, Austen's jibes at the banal conceit of certain characters lack the subtlety that her later novels have. Funny, yes, biting, still, but so obvious as to be somewhat dulled in their impact. But, in its defense, the book's characters, at least some of them, are flawed in some appealing ways: Elinor's holier than thou moralizing, their mother's mawkish mothery-ness, and Willoughby's--well, I'll leave it to you to find out about Willoughby.… (more)
LibraryThing member LisaMaria_C
Sisters are usually important in Austen's books, although they're not always close, and are usually in the background. This book is unusual in having two contrasting heroines in Elinor and Marianne. Unlike say Elizabeth and Jane of Pride and Prejudice the two Dashwood sisters here both grow and learn from the other and are of equal importance to the story. The book is interesting in its themes of prudence versus passion for which the sisters make perfect exemplars and foils.
If this sounds dry--well, almost no Austen novel is without a large leavening of humor--just look at the second chapter where by degrees, their sister-in-law convinces their half-brother not to help them so that finally she has him convinced their needs are so modest they "will be much more able to give you something." That's typical of Austen. The sharp characterizations that are so funny because they're timeless in their illustrations of human foibles and how being scrupulously polite and socially correct can cover pettiness, cruelty while being of itself at times comic and ridiculous.
I'll admit Elinor is my favorite. The one in the family who is sensible in a family of sentimental romantics. Who doesn't have much room to assert her own feelings because someone has to be the grownup. But I feel for Marianne too. I don't, like some, feel she "settled." I think she simply grew through her experiences to appreciate qualities that would have been lost on her earlier.
That's the way of the Austen novels and rather why I love them. Love isn't something that solves problems and brings on the happy ending but an experience that, even when you're disappointed, widens and deepens you so you become wiser and so more capable of happiness. At least if you blend a bit of a romantic sensibility with a modicum of sense.… (more)
If this sounds dry--well, almost no Austen novel is without a large leavening of humor--just look at the second chapter where by degrees, their sister-in-law convinces their half-brother not to help them so that finally she has him convinced their needs are so modest they "will be much more able to give you something." That's typical of Austen. The sharp characterizations that are so funny because they're timeless in their illustrations of human foibles and how being scrupulously polite and socially correct can cover pettiness, cruelty while being of itself at times comic and ridiculous.
I'll admit Elinor is my favorite. The one in the family who is sensible in a family of sentimental romantics. Who doesn't have much room to assert her own feelings because someone has to be the grownup. But I feel for Marianne too. I don't, like some, feel she "settled." I think she simply grew through her experiences to appreciate qualities that would have been lost on her earlier.
That's the way of the Austen novels and rather why I love them. Love isn't something that solves problems and brings on the happy ending but an experience that, even when you're disappointed, widens and deepens you so you become wiser and so more capable of happiness. At least if you blend a bit of a romantic sensibility with a modicum of sense.… (more)
LibraryThing member Cait86
When I first read Sense and Sensibility several years ago, I thought it was okay, but nowhere near as good as Pride and Prejudice, one of my favourite books. Now, after reading much more of Austen's works, and rereading this, her first published novel, I can without a doubt say that I hate Sense and Sensibility.
Why? Well, first of all, I dislike every single character. The "bad" characters are wimpy in their deviousness, and the "good" characters are ridiculously naive. Elinor's sense makes her preachy, and Marianne's emotional sensibility causes her to make a complete fool of herself. She is adored by all, but I cannot understand why - I mean, the girl is such a ninny that she nearly dies just because a man leads her on. And Elinor, who loves Edward, is so proper that she never tells him how she feels, and is ready to let him marry another woman.
Next, I feel as though these characters are merely sketches of the much more entertaining characters in Pride and Prejudice. Willoughby is a lesser version of Wickham, Mrs. Dashwood a tamer Mrs. Bennett, and Colonel Brandon a less romantic Mr. Darcy. Sense and Sensibility was like rough work for the masterpiece that is Pride and Prejudice. Even some of the storylines are similar, particularly the scandal involving Willoughby.
Of course, Sense and Sensibility is still an Austen novel, and so it is still beautifully written. No one quite compares with Jane when it comes to manipulating words, and so this novel was a pleasure to listen to - music to the ears. But, I'm a reader who cannot subsist on good writing alone; I need a story and characters I can care about, and here, Austen fails.
Note: Of course, this is all just my opinion. I know lots of people love this book, and I have had an especially trying week, which may have made me a more disgruntled reviewer than normal!… (more)
Why? Well, first of all, I dislike every single character. The "bad" characters are wimpy in their deviousness, and the "good" characters are ridiculously naive. Elinor's sense makes her preachy, and Marianne's emotional sensibility causes her to make a complete fool of herself. She is adored by all, but I cannot understand why - I mean, the girl is such a ninny that she nearly dies just because a man leads her on. And Elinor, who loves Edward, is so proper that she never tells him how she feels, and is ready to let him marry another woman.
Next, I feel as though these characters are merely sketches of the much more entertaining characters in Pride and Prejudice. Willoughby is a lesser version of Wickham, Mrs. Dashwood a tamer Mrs. Bennett, and Colonel Brandon a less romantic Mr. Darcy. Sense and Sensibility was like rough work for the masterpiece that is Pride and Prejudice. Even some of the storylines are similar, particularly the scandal involving Willoughby.
Of course, Sense and Sensibility is still an Austen novel, and so it is still beautifully written. No one quite compares with Jane when it comes to manipulating words, and so this novel was a pleasure to listen to - music to the ears. But, I'm a reader who cannot subsist on good writing alone; I need a story and characters I can care about, and here, Austen fails.
Note: Of course, this is all just my opinion. I know lots of people love this book, and I have had an especially trying week, which may have made me a more disgruntled reviewer than normal!… (more)
LibraryThing member maneekuhi
I was attracted to this book by the film version starring Emma Thompson. I had watched snippets of it, and found it to be charming, witty, humorous, and very interesting, versus the dull, stilted, talky story I expected. So now it is years later and to break up my usual diet of crime fiction, I read this 400 page novel, one of Austen's seven, over four days. I will read more Jane Austen! What did I like? The prose was beautiful, never boring, though sometimes I got so lost in the words that I lost track of the point. I fully utilized Kindle's "definition" feature, and looked up perhaps five times the usual number, but with pleasure. The characters were very interesting, though saints or sinners with no gray between. And the rich detail about people's behaviors and motivations.....I came away feeling that an hour with Jane Austen and she would have looked into my soul and known me better than I. I enjoyed discovering words no longer in use, as well as expressions used 200 years ago that I had thought were made up by my father's generation, e.g., "blockhead". I noted the sheer enjoyment that was shared when meeting friends and loved ones, and how thoroughly people (for the most part) enjoyed visits, both announced and unexpected, and how much pleasure there was in walks in the countryside. In the end, good triumphs over evil, but there is a minor character, an innocent victim, whose future will not be all roses. Completed 8/18/11, rated 4.5… (more)
LibraryThing member xicanti
Two sisters experience the trials and tribulations of love.
Sense and Sensibility was Jane Austen's first published novel. It contains all the elements that have made her such an enduring literary figure: well-drawn characters, elegant prose, nice romantic tension and sheer readability. Though not as well-liked as Pride and Prejudice, it's a wonderful novel capable of standing tall on its own merits.
Austen employs a fairly standard structure here: she presents the two sisters, Elinor and Marianne, as embodiments of particular worldviews. Elinor has a great deal of sense; she's practical, down-to-earth and considerate of others. Marianne is mostly concerned with what the world can do for her; she's passionate, articulate, and throughly committed to living life her way. Austen uses the novel's events to soften each sister's character, bringing them both to a middle point at which Elinor has gained some passion and Marianne has gained some sense.
These events are primarily romantic and, as is Austen's usual wont, there are problems aplenty. The atmosphere is always rife with tension as both sisters discover and deal with terrible truths about their suitors. The book can be read as a simple, literary romance novel, filled with the usual sorts of mistakes and moments of forgiveness.
This is far from a one-dimmensional novel, though. One can easily delve deeper. Personally, I found that Austen did some interesting things with the whole idea of self-control. As the characters live in a very formal, polite society, it's often impossible for them to say what they really think. This leads to some wonderful dialogue as each character dances around their true meaning, finding some way to express themselves without breaking any social rules or being untrue to themselves. This results in some absolutely hilarious moments, and not a few heartbreaking ones.
Overall, this is most certainly worth your time. Recommended.… (more)
Sense and Sensibility was Jane Austen's first published novel. It contains all the elements that have made her such an enduring literary figure: well-drawn characters, elegant prose, nice romantic tension and sheer readability. Though not as well-liked as Pride and Prejudice, it's a wonderful novel capable of standing tall on its own merits.
Austen employs a fairly standard structure here: she presents the two sisters, Elinor and Marianne, as embodiments of particular worldviews. Elinor has a great deal of sense; she's practical, down-to-earth and considerate of others. Marianne is mostly concerned with what the world can do for her; she's passionate, articulate, and throughly committed to living life her way. Austen uses the novel's events to soften each sister's character, bringing them both to a middle point at which Elinor has gained some passion and Marianne has gained some sense.
These events are primarily romantic and, as is Austen's usual wont, there are problems aplenty. The atmosphere is always rife with tension as both sisters discover and deal with terrible truths about their suitors. The book can be read as a simple, literary romance novel, filled with the usual sorts of mistakes and moments of forgiveness.
This is far from a one-dimmensional novel, though. One can easily delve deeper. Personally, I found that Austen did some interesting things with the whole idea of self-control. As the characters live in a very formal, polite society, it's often impossible for them to say what they really think. This leads to some wonderful dialogue as each character dances around their true meaning, finding some way to express themselves without breaking any social rules or being untrue to themselves. This results in some absolutely hilarious moments, and not a few heartbreaking ones.
Overall, this is most certainly worth your time. Recommended.… (more)
LibraryThing member koeniel
Perhaps because I was very much impressed by the romance of Lizzie Bennet and Fitzwilliam Darcy in Pride and Prejudice, I read through the first part of Sense and Sensibility with a bit of a disappointment, as I felt this book didn't have as forceful emotion and love and wittiness as Pride and Prejudice. I felt Sense and Sensibility a lot more sedate. This book’s heroine Elinor is the master of calmness and restrain, more like Jane Bennet, Lizzie’s older sister in Pride and Prejudice. She has not the wittiness and spirit of Lizzie. Elinor’s beau Edward has the reserve of Mr Darcy, but not his dashing look or richness. However, a proof to Jane Austen's masterful writing, even before reading half of the book I was as hooked, as spellbound, as when I read Pride and Prejudice. Reading this book I was again drowned in Jane’s world; and it was very difficult to get out of it.
This time it’s the love stories of the Miss Dashwoods, Elinor and Marianne. The heroes are Edwards Ferrars and Colonel Brandon. The black sheep this time is Willoughby (who resembles Wickham from Pride and Prejudice).
Jane successfully gives a faithful and acute portray of the 18th century England, giving us a detailed look at the view of the society at that time about man and woman relationship, about family, about money and virtue. As in Pride and Prejudice (which was actually published two years after this book), in Sense and Sensibility it is very clear how dependent women are financially on their families or husbands. Not a situation to be envied on.
It is very interesting as well to see how view has change over the time from then to now. The Dashwood sisters seem to forgive Willoughby’s conducts toward Marianne more easily after it was known that he left her for money. They hated him more when they thought that he was only pretending to fall in love with Marianne. I would’ve hated him no less if a guy is to leave me for financial reason! Maybe in those days people have resigned to the fact that fortune often obstructs love. Maybe this is the reason that Willoughby’s long defence of his attitude to Elinor is not depicted in the modern film adaptation (1995, starring Emma Thompson, Kate Winslet, Hugh Grant and Alan Rickman).
It is interesting to see Jane’s descriptions of mothers. It doesn’t seem that she has a very good opinion on them. In Pride and Prejudice Mrs Bennet is borderline annoying in her stupidity. In this book Mrs Dashwood is kind and smart enough, but still too romantic to be wise.
Perhaps Jane’s books including this one is always well liked because it appeals to our romantic sides, and also in her books the good will always be rewarded and the bad punished. Goodness of heart, wisdom and sense prevail.… (more)
This time it’s the love stories of the Miss Dashwoods, Elinor and Marianne. The heroes are Edwards Ferrars and Colonel Brandon. The black sheep this time is Willoughby (who resembles Wickham from Pride and Prejudice).
Jane successfully gives a faithful and acute portray of the 18th century England, giving us a detailed look at the view of the society at that time about man and woman relationship, about family, about money and virtue. As in Pride and Prejudice (which was actually published two years after this book), in Sense and Sensibility it is very clear how dependent women are financially on their families or husbands. Not a situation to be envied on.
It is very interesting as well to see how view has change over the time from then to now. The Dashwood sisters seem to forgive Willoughby’s conducts toward Marianne more easily after it was known that he left her for money. They hated him more when they thought that he was only pretending to fall in love with Marianne. I would’ve hated him no less if a guy is to leave me for financial reason! Maybe in those days people have resigned to the fact that fortune often obstructs love. Maybe this is the reason that Willoughby’s long defence of his attitude to Elinor is not depicted in the modern film adaptation (1995, starring Emma Thompson, Kate Winslet, Hugh Grant and Alan Rickman).
It is interesting to see Jane’s descriptions of mothers. It doesn’t seem that she has a very good opinion on them. In Pride and Prejudice Mrs Bennet is borderline annoying in her stupidity. In this book Mrs Dashwood is kind and smart enough, but still too romantic to be wise.
Perhaps Jane’s books including this one is always well liked because it appeals to our romantic sides, and also in her books the good will always be rewarded and the bad punished. Goodness of heart, wisdom and sense prevail.… (more)
LibraryThing member justabookreader
Jane Austen wrote two of my favorite books --- Sense & Sensibility and Pride & Prejudice. Each time I re-read them, (yes, I am a serial re-reader) I am overcome by the amount of emotion she can fit on a page. Sense & Sensibility ranks right up there for me with the best of the tearjerkers.
Elinor and Marianne Dashwood are incredibly close sisters but could not be more different. Elinor is strong and reserved, Marianne is emotional and prone to outbursts on any opinion she might have. They are opposites in many ways with the exception of their love lives which can be described as nothing more than shambles. Elinor is in love with Edward and she feels, and her family is assured, that she will someday be his wife. Marianne falls for a man named Willoughby . He is dashing, daring, and falls amicably in love with Marianne soon after their first ill-fated meeting. Her happiness is not meant to last and, after leading her on, he leaves her with no warning.
When an opportunity arises for the sisters to be in London, Marianne readily agrees much against the more strident arguments of Elinor to stay at the cottage with their mother. It is in London that Willoughby is sited and Marianne’s hopes rise only to be completely dashed when it is rumored that he is to marry someone very rich, something Marianne is not and has no hope to ever be. The death of their father and the miserly ways of their half brother, John, have left the Dashwood women rather less endowed.
While in London, Marianne goes into a stupor on finding out about Willoughby and Elinor does her best to care for her. Unbeknownst to Marianne, Elinor is experiencing much the same torment --- she has heard from an acquaintance, Lucy Steele, that Edward is engaged. In fact, he is engaged to Lucy and Elinor is forced to listen to her drivel about their difficulties in not being able to express their love openly and to marry. Elinor is strong under the strain but somehow, while reading, you just wish she would sit and give in to her emotion but she doesn’t. That is the beauty in reading Austen, she pulls at the heartstrings but her characters can take it.
An illness strands Elinor and Marianne on their way home but thanks to the help, and love, of a family friend, they are reunited with their mother and return home where each has time to recover from their love ordeals. After a few weeks, Elinor is surprised by Edward and an offer of marriage she had convinced herself was impossible and Marianne finds happiness in love in the place she least expected.
The one thing I adore about the Austen novels I have read are the characters and this book does not fall short. The Dashwoods’ sister-in-law, Mrs. John Dashwood (Fanny) is probably one of the most conniving and annoying characters in the book. Her cheap nature, mean spiritedness, and jealously for the sisters is appropriately aggravating. In one scene, she complains about having to give away the good china when she of all people is forcing the Dashwoods from their beloved home now that her husband has inherited it upon of the death of his father. She plays a very small part but is unforgettable for me and one character I cannot stand to come across. She is so conniving she is wonderful and makes you want to hate all sister-in-laws even if you love you own.
Why do I re-read this book over and over? Each time I find something new to love. I feel more and more each time for Marianne and the deep depression she falls into over losing Willoughby and what she thought, and was led to believe, would happen between them. Willoughby becomes more and more of a rascal, to use a proper Austen term, and so viciously cruel that Marianne’s torment becomes even greater. And dear Elinor, the strong sister who seems capable of running the world if given the chance with her calm and cool demeanor, to suffer so in silence almost to the end is just heart wrenching. When the happy ending arrives you almost want to celebrate and cry along with the characters.… (more)
Elinor and Marianne Dashwood are incredibly close sisters but could not be more different. Elinor is strong and reserved, Marianne is emotional and prone to outbursts on any opinion she might have. They are opposites in many ways with the exception of their love lives which can be described as nothing more than shambles. Elinor is in love with Edward and she feels, and her family is assured, that she will someday be his wife. Marianne falls for a man named Willoughby . He is dashing, daring, and falls amicably in love with Marianne soon after their first ill-fated meeting. Her happiness is not meant to last and, after leading her on, he leaves her with no warning.
When an opportunity arises for the sisters to be in London, Marianne readily agrees much against the more strident arguments of Elinor to stay at the cottage with their mother. It is in London that Willoughby is sited and Marianne’s hopes rise only to be completely dashed when it is rumored that he is to marry someone very rich, something Marianne is not and has no hope to ever be. The death of their father and the miserly ways of their half brother, John, have left the Dashwood women rather less endowed.
While in London, Marianne goes into a stupor on finding out about Willoughby and Elinor does her best to care for her. Unbeknownst to Marianne, Elinor is experiencing much the same torment --- she has heard from an acquaintance, Lucy Steele, that Edward is engaged. In fact, he is engaged to Lucy and Elinor is forced to listen to her drivel about their difficulties in not being able to express their love openly and to marry. Elinor is strong under the strain but somehow, while reading, you just wish she would sit and give in to her emotion but she doesn’t. That is the beauty in reading Austen, she pulls at the heartstrings but her characters can take it.
An illness strands Elinor and Marianne on their way home but thanks to the help, and love, of a family friend, they are reunited with their mother and return home where each has time to recover from their love ordeals. After a few weeks, Elinor is surprised by Edward and an offer of marriage she had convinced herself was impossible and Marianne finds happiness in love in the place she least expected.
The one thing I adore about the Austen novels I have read are the characters and this book does not fall short. The Dashwoods’ sister-in-law, Mrs. John Dashwood (Fanny) is probably one of the most conniving and annoying characters in the book. Her cheap nature, mean spiritedness, and jealously for the sisters is appropriately aggravating. In one scene, she complains about having to give away the good china when she of all people is forcing the Dashwoods from their beloved home now that her husband has inherited it upon of the death of his father. She plays a very small part but is unforgettable for me and one character I cannot stand to come across. She is so conniving she is wonderful and makes you want to hate all sister-in-laws even if you love you own.
Why do I re-read this book over and over? Each time I find something new to love. I feel more and more each time for Marianne and the deep depression she falls into over losing Willoughby and what she thought, and was led to believe, would happen between them. Willoughby becomes more and more of a rascal, to use a proper Austen term, and so viciously cruel that Marianne’s torment becomes even greater. And dear Elinor, the strong sister who seems capable of running the world if given the chance with her calm and cool demeanor, to suffer so in silence almost to the end is just heart wrenching. When the happy ending arrives you almost want to celebrate and cry along with the characters.… (more)
LibraryThing member antiquary
I used to like this, but the last time I reread it, it seemed to me that Austen let the two best characters marry the wrong people, when they should have married each other.
LibraryThing member EmScape
An altogether satisfying classic novel. Sisters Elinor and Marianne Dashwood, left with little income following the death of their father, go to live with some distant relations and meet men they wish to engage. However, there are complications, as both seem to be quite unsuitable.
I was continually struck by the eloquence with which this book is written and the gracious manner in which the primary characters endeavored to conduct themselves. Did people really speak to each other that way in that era? How interesting that even one described as ‘illiterate’ can issue such a statement as "I am sure you think me very strange, for enquiring about her in such
a way, but perhaps there may be reasons--I wish I might venture; but however I hope you will do me the justice of believing that I do not mean to be
impertinent." The articulacy of the text was almost confusing at first because the poor standards by which most modern authors express themselves is what I am used to reading and speaking. However, that difficulty was soon overcome, and I found _myself_ both speaking and writing with greater vocabulary and altered cadence.
I was also surprised that I could find a tale consisting mostly of the conversations between the idle members of British society so suspenseful. I found myself invested in the characters and their eventual happiness so much that I was quite eager to turn the page.
Highly recommended. Compared to this, the romantic tales of the 21st century are vulgar and coarse.… (more)
I was continually struck by the eloquence with which this book is written and the gracious manner in which the primary characters endeavored to conduct themselves. Did people really speak to each other that way in that era? How interesting that even one described as ‘illiterate’ can issue such a statement as "I am sure you think me very strange, for enquiring about her in such
a way, but perhaps there may be reasons--I wish I might venture; but however I hope you will do me the justice of believing that I do not mean to be
impertinent." The articulacy of the text was almost confusing at first because the poor standards by which most modern authors express themselves is what I am used to reading and speaking. However, that difficulty was soon overcome, and I found _myself_ both speaking and writing with greater vocabulary and altered cadence.
I was also surprised that I could find a tale consisting mostly of the conversations between the idle members of British society so suspenseful. I found myself invested in the characters and their eventual happiness so much that I was quite eager to turn the page.
Highly recommended. Compared to this, the romantic tales of the 21st century are vulgar and coarse.… (more)
LibraryThing member quigui
Now, this one was just boring.
I found the characters to have little depth, and the plot was hardly novel. Despite this, the characters (or at least Marianne) do evolve a bit to reach the unsurprising ending: they all make good marriages (makes me wonder if there is more to life than that).
Final opinion: watch the movies/mini-series and you'll be more entertained than with the book.
On another note, I'm not sure what Sense and Sensibility and Sea Monsters is about (I suppose there will be sea monsters in it, but after my experience with Pride and Prejudice and Zombies I am in no rush to find out), but if anyone wants to make a remake of this book in which little Margaret turns out to be an evil murderess possessed by the devil, killing everyone on revenge because they spend the entire book ignoring her, I'll read it. Because I'm not entirely sure why there was a need for a third sister if she is to be forgotten during most of the book.… (more)
I found the characters to have little depth, and the plot was hardly novel. Despite this, the characters (or at least Marianne) do evolve a bit to reach the unsurprising ending: they all make good marriages (makes me wonder if there is more to life than that).
Final opinion: watch the movies/mini-series and you'll be more entertained than with the book.
On another note, I'm not sure what Sense and Sensibility and Sea Monsters is about (I suppose there will be sea monsters in it, but after my experience with Pride and Prejudice and Zombies I am in no rush to find out), but if anyone wants to make a remake of this book in which little Margaret turns out to be an evil murderess possessed by the devil, killing everyone on revenge because they spend the entire book ignoring her, I'll read it. Because I'm not entirely sure why there was a need for a third sister if she is to be forgotten during most of the book.… (more)
LibraryThing member aharey
Sense and Sensibility tells the story of the Dashwood family and journey through various trials and tribulations. The story centers on two parallel plots- Marianne Dashwood’s passionate love for Willoughby and Elinor Dashwood’s quiet love for Edward Ferrars.
Sense and Sensibility, the first novel of Jane Austen’s to be published, was written in 1811 and is an excellent example of what is known as a novel of manners. It deals with the behavior and manners of the gentry of Regency England, which had strict codes of conduct and dealt harshly with anyone who broke those codes. Sense and Sensibility shows this through the scandalous behavior of Marianne and Willoughby. Marianne flouts the code in order to live by her passions, while her sister, Elinor, follows the code strictly, never allowing anyone to know the depths of her feelings.
I truly love this novel. The characters are fresh and original, the plot is never contrived, and the resolution to the stories is fulfilling. I especially love the character of Colonel Brandon (although that may be due to Alan Rickman’s portrayal).… (more)
Sense and Sensibility, the first novel of Jane Austen’s to be published, was written in 1811 and is an excellent example of what is known as a novel of manners. It deals with the behavior and manners of the gentry of Regency England, which had strict codes of conduct and dealt harshly with anyone who broke those codes. Sense and Sensibility shows this through the scandalous behavior of Marianne and Willoughby. Marianne flouts the code in order to live by her passions, while her sister, Elinor, follows the code strictly, never allowing anyone to know the depths of her feelings.
I truly love this novel. The characters are fresh and original, the plot is never contrived, and the resolution to the stories is fulfilling. I especially love the character of Colonel Brandon (although that may be due to Alan Rickman’s portrayal).… (more)
LibraryThing member JechtShot
I finally made it through Sense and Sensibility, but I must say it was quite a struggle. Jane Austen has a wonderful way with words, but I think it is safe to say that I grew to hate just about every character in the novel by the end. Elinor - the sense of the operation, was prim, proper dull and boring. Marianne - aka sensibility, was the extreme opposite of Elinor and I was praying she would be struck by a runaway horse and buggy within moments of being introduced to her, but sadly this was not to occur. The remaining women were primarily gossip junkies stalking the countryside for their next fix. The men of Sense and Sensibility not much better with the exception of Mr. Palmer. Palmer had the good sense to hide in the background and ignore the whole lot. I may give Austen another shot, but this reader needs a little time away.… (more)
LibraryThing member Liladillerauthor
One of my favorites of all time!!
Here is a sampling of the language at the time in some of my favorite quotes:
1. “Nor I,” answered Marianne with energy, “our situations then are alike. We have neither of us any thing to tell; you, because you do not communicate, and I, because I conceal nothing.”
2. She [Fanny] took the first opportunity of affronting her mother-in-law on the occasion, talking to her so expressively of her brother’s great expectations, of Mrs. Ferrars’s resolution that both her sons should marry well, and of the danger attending any young woman who attempted to DRAW HIM IN; that Mrs. Dashwood could neither pretend to be unconscious, nor endeavor to be calm.
3. “Shyness is only the effect of a sense of inferiority in some way or other. If I [Edward] could persuade myself that my manners were perfectly easy and graceful, I should not be shy.”
4. “Brandon is just the kind of man,” said Willoughby one day, when they were talking of him together, “whom every body speaks well of, and nobody cares about; whom all are delighted to see, and nobody remembers to talk to.”
5. Elinor blushed for the insincerity of Edward’s future wife, and replied, “This compliment would effectually frighten me from giving any opinion on the subject had I formed one. It raises my influence much too high; the power of dividing two people so tenderly attached is too much for an indifferent person.”
6. “…I [Mrs. Jennings] have had such good luck in getting my own children off my hands that…if I don’t get one of you at least well married before I have done with you, it shall not be my fault.”
… (more)
Here is a sampling of the language at the time in some of my favorite quotes:
1. “Nor I,” answered Marianne with energy, “our situations then are alike. We have neither of us any thing to tell; you, because you do not communicate, and I, because I conceal nothing.”
2. She [Fanny] took the first opportunity of affronting her mother-in-law on the occasion, talking to her so expressively of her brother’s great expectations, of Mrs. Ferrars’s resolution that both her sons should marry well, and of the danger attending any young woman who attempted to DRAW HIM IN; that Mrs. Dashwood could neither pretend to be unconscious, nor endeavor to be calm.
3. “Shyness is only the effect of a sense of inferiority in some way or other. If I [Edward] could persuade myself that my manners were perfectly easy and graceful, I should not be shy.”
4. “Brandon is just the kind of man,” said Willoughby one day, when they were talking of him together, “whom every body speaks well of, and nobody cares about; whom all are delighted to see, and nobody remembers to talk to.”
5. Elinor blushed for the insincerity of Edward’s future wife, and replied, “This compliment would effectually frighten me from giving any opinion on the subject had I formed one. It raises my influence much too high; the power of dividing two people so tenderly attached is too much for an indifferent person.”
6. “…I [Mrs. Jennings] have had such good luck in getting my own children off my hands that…if I don’t get one of you at least well married before I have done with you, it shall not be my fault.”
… (more)
LibraryThing member cbl_tn
Sense and Sensibility illustrates well the old saying "appearances can be deceiving." Sensible Elinor appears to feel things less deeply than passionate Marianne, who pursues what she admires and avoids what she does not with equal zeal. However, in allowing her feelings to govern her behavior, Marianne is insensitive to the feelings of others, while Elinor, by doing what is expected of her in social situations, suffers all the more. Not only does Elinor do the right thing even when it is difficult and painful, she does it for the right reasons. I'm glad for Elinor's sake that she ends up with the man she loves. I can't help thinking, though, that she deserves a better man than Edward, and I find myself agreeing with many of her friends and relations that Colonel Brandon would have been a good match for her.… (more)
LibraryThing member RandyMetcalfe
Not a perfect novel. At times it is overly directed by an imposing narrative voice. At times, especially in the third volume, discordant chapters appear simply to force a plot point, or render themes explicit that were earlier presented with a gentler and more efficacious touch. And yet I would more gladly reread a less than perfect Austen than a great many more perfect novels. (To be clear, I do believe that Austen also did write a perfect novel, perhaps the perfect novel, later in Emma.)
At its best, Sense and Sensibility shimmers with deft observations and exquisite turns of phrase. Is there anyone so adept at painting character whilst presenting backstory? Comic set pieces abound; Edward’s meeting with Elinor and Lucy is almost excruciatingly awkward. But there are also wrenchingly emotional scenes for Marianne and Elinor, respectively, that come across as piercingly real.
The narrator’s sympathy remains consistently with Elinor, but Marianne’s more emotional sensibility is not dismissed, and, when subjected to appropriate reflection attains to sense. They seem encircled by a sea of silly people. But so long as hearts are generous and pure, as in the case of Mrs Jennings and her daughter Charlotte, they are loved. For those that lack genuine fellow feeling there is disdain. Yet, even for these, Elinor offers courtesy and civility.
There is much more that might be said. Perhaps it is enough to say that, as with each of Austen’s novels, this one should be read and read again.… (more)
At its best, Sense and Sensibility shimmers with deft observations and exquisite turns of phrase. Is there anyone so adept at painting character whilst presenting backstory? Comic set pieces abound; Edward’s meeting with Elinor and Lucy is almost excruciatingly awkward. But there are also wrenchingly emotional scenes for Marianne and Elinor, respectively, that come across as piercingly real.
The narrator’s sympathy remains consistently with Elinor, but Marianne’s more emotional sensibility is not dismissed, and, when subjected to appropriate reflection attains to sense. They seem encircled by a sea of silly people. But so long as hearts are generous and pure, as in the case of Mrs Jennings and her daughter Charlotte, they are loved. For those that lack genuine fellow feeling there is disdain. Yet, even for these, Elinor offers courtesy and civility.
There is much more that might be said. Perhaps it is enough to say that, as with each of Austen’s novels, this one should be read and read again.… (more)
LibraryThing member Letter4No1
Earlier this year I read Pride and Prejudice for the first time and was really looking forward to reading more Austen. Sense and Sensibility did not live up to the high standers I had set for it, but It was a good read. The slow start describing the family situation ruins the race of the story and makes it very had to get into. I had a problem with Marianne as a character, but I can see how she could be endearing to some. In short this was a classic worth reading.… (more)
LibraryThing member AbigailAdams26
I have always loved Sense and Sensibility best out of all of Jane Austen's novels, no doubt partly because it features the three Dashwood sisters (however invisible young Margaret may be), and I am one of three sisters myself. This tale of sensible Elinor and romantic Marianne, whose differing approaches to life and love are tested throughout the book, features the same sort of contest between desire and duty that gives Charlotte Brontë's Jane Eyre such power. It is a fitting tribute to Austen's powers as a writer, that although Elinor's "sense" is clearly meant to triumph, Marianne's "sensibility" is portrayed with such loving fondness.
The story of a family of dependent women, whose fate is entirely in the hands of their male relatives, I have always found Sense and Sensibility to contain some of Austen's sharpest social criticism. The Dashwood women find themselves unwelcome guests in their own home when John Dashwood inherits the estate at Norland, and are only saved from the unpleasantness of the horrible Fanny by the kindness of Mrs. Dashwood's (male) cousin, Sir John Middleton. I have always found it fascinating that while Austen clearly endorses the more passive role that Elinor stakes out for herself, vis-a-vis romance, she simultaneously offers a very pointed critique of the enforced passivity of women, when it comes to economic activities and inheritance law.
In the end though, for all its philosophical framework and subtle social commentary, Sense an Sensibility is most successful because Austen understands the complicated relations between women, particularly the bond between sisters.… (more)
The story of a family of dependent women, whose fate is entirely in the hands of their male relatives, I have always found Sense and Sensibility to contain some of Austen's sharpest social criticism. The Dashwood women find themselves unwelcome guests in their own home when John Dashwood inherits the estate at Norland, and are only saved from the unpleasantness of the horrible Fanny by the kindness of Mrs. Dashwood's (male) cousin, Sir John Middleton. I have always found it fascinating that while Austen clearly endorses the more passive role that Elinor stakes out for herself, vis-a-vis romance, she simultaneously offers a very pointed critique of the enforced passivity of women, when it comes to economic activities and inheritance law.
In the end though, for all its philosophical framework and subtle social commentary, Sense an Sensibility is most successful because Austen understands the complicated relations between women, particularly the bond between sisters.… (more)
LibraryThing member jaimjane
Elinor and Marion, two very different sisters need the same thing. A husband. The way they love and support each other along with their mother and other young sister in their worsened circumstances is so beautiful. I love this story!
LibraryThing member Daye
A romantic story. I love my sisters, but certainly Elinor and Marianne would be fantastic part of the family. Jane Austen shows how often our perceptions are wrong. Her prose style is wonderful. The times and fashions may change but people remain much the same. It is almost sure some of the characters will remind of someone you know. A lesson from this novel is that sometimes is better to wait a little bit for Mr. o Mrs. Right that get Mr. or Mrs. Wrong in a hurry.… (more)
LibraryThing member Rachissy
So far in my journey through Austen I have been 1-1. I loved Pride and Prejudice and really disliked Emma. I needed a tie-breaker so I dove into Sense and Sensibility. I'm pleased to announce that the score is now 2-1. I didn't like it as well as P&P but I still enjoyed it quite a bit.
As I read I couldn't help but compare the relationship of the two Dashwood sisters to myself and my older sister. My sister and I are definitely not as close as Elinor and Marianne but the similarities in our own characters and that of the Dashwoods was there. My sister is a lot like Elinor Dashwood. She's responsible, steady, full of common sense, and usually more in control of her emotions than yours truly. I am much more like Marianne, impulsive, led by emotions, and tend to jump into situations or relationships without thinking them through all the way. I rather enjoyed reading through and comparing the actions of the sisters with what I or my sister would do.
I ended up being quite emotionally invested into the story right from the beginning. The way the Dashwood ladies are pretty much thrown out on their asses by their own brother just broke my heart. Who does that? Apparently spineless men who have snobby, horrible wives. I hated Fanny with a passion right from the start and was secretly hoping a random house would suddenly fall on her. From there on out it was an endless stream of relationship troubles. There was enough drama, secrets and lies going around in that little town that they could create their own soap opera. I'll admit, though, that near the end I was getting confused as to who was in love with whom and how it had happened. In the end, it all works out as it should, of course, so my little romantic heart was happy with it.… (more)
As I read I couldn't help but compare the relationship of the two Dashwood sisters to myself and my older sister. My sister and I are definitely not as close as Elinor and Marianne but the similarities in our own characters and that of the Dashwoods was there. My sister is a lot like Elinor Dashwood. She's responsible, steady, full of common sense, and usually more in control of her emotions than yours truly. I am much more like Marianne, impulsive, led by emotions, and tend to jump into situations or relationships without thinking them through all the way. I rather enjoyed reading through and comparing the actions of the sisters with what I or my sister would do.
I ended up being quite emotionally invested into the story right from the beginning. The way the Dashwood ladies are pretty much thrown out on their asses by their own brother just broke my heart. Who does that? Apparently spineless men who have snobby, horrible wives. I hated Fanny with a passion right from the start and was secretly hoping a random house would suddenly fall on her. From there on out it was an endless stream of relationship troubles. There was enough drama, secrets and lies going around in that little town that they could create their own soap opera. I'll admit, though, that near the end I was getting confused as to who was in love with whom and how it had happened. In the end, it all works out as it should, of course, so my little romantic heart was happy with it.… (more)
LibraryThing member chrisblocker
I'm familiar with many Jane Austen stories, but this is the first time I've successfully read one of her novels. Years ago, surely eight or nine years now, I made a very lackluster attempt to read Mansfield Park, but I gave up within a mere ten pages. My heart just wasn't in it at the time. More so than that of many of her contemporaries, the language Austen uses can be a chore to get through and I struggled to understand what I was reading (and why). The time has come, however, to give Austen another try.
Judging by the stories that have survived and remain in our hearts—from Shakespeare to Austen to Dickens to...—there really wasn't much difference in British drama for three hundreds years. Through the quirky interactions of memorable characters, these authors provide entertaining romps through sentimentality with a satirical edge. And yet, I would argue that Austen's stories were more realistic than those of her contemporaries. Certainly, Austen dwelt a bit heavily on the “woes” of the higher class, but the characters' wants and needs transcend status. Unlike many of the two-dimensional characters in the stories of the time, Austen's primary characters are individuals with ever-changing perspectives (secondary characters, not so much). Of course realism from a much more humble point-of-view was just a generation away with authors such as Anne Bronte being born in this era, but clearly Austen had her finger on the pulse of humanity.
And yet these stories lack realism. How anyone can be so oblivious is beyond me. Can two people carry on a conversation for so long without realizing they're talking about two very different things? Sure, it's humorous, but it's not believable. So are these stories meant to be believable, or not? Does love ever come so easily in the end? How is it that the destitute daughters of these tales always find the one descent human in the aristocracy? I think that's the magic of Austen and it certainly works well in Sense and Sensibility. These are characters that are human and though their situations may be very different from our own, they are very much like us. Through struggles and the embrace of all that is “good” and “right,” they enter the fairy tale that so many of us envy. These are the stories that capture the heart of the romantic.
Sense and Sensibility is double the romance. The characters are engaging. The wit is on point. The story is entertaining. And it's all so clever—there's an excellent word for the work of Jane Austen: clever.… (more)
Judging by the stories that have survived and remain in our hearts—from Shakespeare to Austen to Dickens to...—there really wasn't much difference in British drama for three hundreds years. Through the quirky interactions of memorable characters, these authors provide entertaining romps through sentimentality with a satirical edge. And yet, I would argue that Austen's stories were more realistic than those of her contemporaries. Certainly, Austen dwelt a bit heavily on the “woes” of the higher class, but the characters' wants and needs transcend status. Unlike many of the two-dimensional characters in the stories of the time, Austen's primary characters are individuals with ever-changing perspectives (secondary characters, not so much). Of course realism from a much more humble point-of-view was just a generation away with authors such as Anne Bronte being born in this era, but clearly Austen had her finger on the pulse of humanity.
And yet these stories lack realism. How anyone can be so oblivious is beyond me. Can two people carry on a conversation for so long without realizing they're talking about two very different things? Sure, it's humorous, but it's not believable. So are these stories meant to be believable, or not? Does love ever come so easily in the end? How is it that the destitute daughters of these tales always find the one descent human in the aristocracy? I think that's the magic of Austen and it certainly works well in Sense and Sensibility. These are characters that are human and though their situations may be very different from our own, they are very much like us. Through struggles and the embrace of all that is “good” and “right,” they enter the fairy tale that so many of us envy. These are the stories that capture the heart of the romantic.
Sense and Sensibility is double the romance. The characters are engaging. The wit is on point. The story is entertaining. And it's all so clever—there's an excellent word for the work of Jane Austen: clever.… (more)
LibraryThing member tjsjohanna
Ms. Austen tells an engaging tale and illustrates two very different ways of conducting oneself in the society of her time. While Marianne is engaging and not afraid to let the whole world know how she feels about everything, Elinor's story makes the case for observing the mores of the time. Some would say Elinor doesn't fully "feel" her joys and heartaches, but I think the story does a good job of showing just how detrimental to herself Marianne's excesses are. I really liked, however, how kind and loving Elinor is to both her mother and sister. She disagrees with their emotional excesses, but it doesn't separate her from them, or even cause her to blame them for the burdens they require her to shoulder.… (more)
LibraryThing member gwendolyndawson
Two penniless but genteel sisters, Elinor and Marianne, struggle to find suitable husbands. Marianne suffers from too much sensibility (romantic idealism) while Elinor suffers from too much sense (pragmatism, rationality). Eventually, both sisters learn to find a middle ground. Perfectly Austen.
Subjects
Publication
New York : Barnes & Noble, 1996.
Language
Original publication date
1811
Physical description
viii, 356 p.
ISBN
0760700435 / 9780760700433