Anti-Romanticism in Sense and Sensibility
A look at the anti-romantic themes of Jane Austen's novel.
In an age which extolled the virtues of expressing emotion and being sensible to the beauty of nature and literature, Jane Austen wrote a novel to champion sense and moderation. The main characters of Sense and Sensibility, Elinor and Marianne, serve as representatives of these opposing world views. Throughout the novel, sensibility is mocked whereas sense (not a cold reason, but a moderate practicality) is praised. By the end of the novel, sense triumphs as the emotional Marianne, "[i]nstead of falling sacrifice to an irresistible passion," makes a practical match based not on volatile emotions, but on the steadier, quieter feelings of respect and friendship, trusting that, in time, these too can grow into love (372).
Marianne is criticized for her "excess of . . . sensibility," emotions which can "have no moderation" (5). She believes that for any man to attract a woman, he must have romantic qualities: "spirit,""fire," a passionate love for literature, music, and art, rather than a mere admiration (15). The author is no doubt parodying the romantic view by taking Marianne?s requirements to an extreme: "I could not be happy with a man whose tastes did not in every point coincide with my own. He must enter into all of my feelings; the same books, the same music must charm us both" (16). Marianne does not, like Elinor, appreciate Edward for his moral virtues, but cares foremost about his sentiments; in her opinion, he does not read with proper emotion.
Marianne applies her romantic standards to Willoughby and Colonel Brandon. Brandon initially appears to her to be a stuffy old bachelor, but Willoughby seems perfectly romantic. When he enters the scene, he does so in a dashing, adventurous way, rescuing Marianne from her fall on the hills. She quickly ascertains all his opinions to make sure they coincide with her own. Elinor quips, "You know what he thinks of Cowper and Scott; you are certain of his estimating their beauties as he ought . . . Another meeting will suffice to explain his sentiments on picturesque beauty and second marriages, and then you can have nothing further to ask . . . " (45). But the shallowness of this romantic world view is revealed when Willoughby?s character as a seducer is exposed. The key issue, for Austen, is not a man?s romantic sentiments, but his moral virtues. Edward is lauded because--however unromantic it may be to marry someone you do not love--he is willing to honor his word to Lucy. Brandon is lauded for being "sensible" and "gentlemanlike" and for his generosity to Edward (32). His patient, respectful love of Marianne is contrasted with Willoughby?s socially reckless attentions, such as riding off alone with Marianne in his carriage (64). Willoughby?s passionate sharing of Marianne?s tastes is contrasted with Brandon?s more steady admiration of her musical abilities; he is not thrown into exaggerated and perhaps artificial raptures like the rest of the company; rather, he pays her "only the compliment of attention" (33). Finally, Willoughby?s romantic "rescue" of Marianne is contrasted with the more practical--and perhaps more helpful--assistance that Colonel Brandon renders during Marianne?s sickness. "The comfort of such a friend at that moment as Colonel Brandon," reflects Elinor, ". . . how gratefully was it felt!" (304).
Colonel Brandon is not without deep feeling. But his feelings are appropriately tempered and directed by his reason. Sense, in this novel, is the proper master of sensibility. The role of emotion is not wholly rejected, but the romantic notion that emotion ought to reign supreme is.
