How Does Austen Present Elinor's View Of Willoughby

Jane Austen composes the main protagonist, Elizabeth, as a mature and haste thinker with the purpose of juxtaposing Lydia's brashness and lack of foresight. The most obvious place that Austen instills this juxtaposition is when the author presents readers with a comparison between the events leading up to Lydia's marriage, to those of Elizabeth, readers find that Austen crafts Lydia

This narrative perspective defines Catherine’s naiveté and provides an inner soliloquy, which effectively allows readers to perceive for themselves each character’s personality and agenda. Written from the third person limited omniscient point of view, predominantly filtered through Catherine, the unknown narrator slips effortlessly into free indirect disclosure, which effectively adopts the tone and inflection of the individual character’s voice. This narrative viewpoint allows the narrator to intrude into the narrative to offer advice, or to foreshadow the characters. ‘Catherine’s swelling heart needed relief. In Eleanor’s presence, friendship and pride had equally restrained her tears, but no sooner was she gone they burst forth in torrents.’(Austen, 2008, pp.164–167) Direct speech is depicted through dialogue ‘My dear Eleanor, cried Catherine’. (Austen, 2008, pp.164–167) and ‘It will not be in my power Catherine’ (Austen, 2008,

Willoughby and Marianne sparks an interesting relationship. Marianne is enthralled with the charming, handsome, and intelligent man who carried her down the hill in the rain. “His manly beauty and more than common gracefulness were instantly the theme of general of admiration.” (Ch. 9 pg. 40) Marianne already the constant romantic, finds him to be everything she could hope for. “His person and air were equal to what her fancy had ever drawn for the hero of her favorite story.” (Ch. 9 pg. 41) It is at this point in the novel when the reader begins to realize the meaning behind the title Sense and Sensibility. The two protagonists, Elinor and Marianne, represent sense and sensibility. Elinor’s personality and relationship with Edward is certainly sensible, while Marianne is more emotional and passionate, as reflected by her budding relationship with Mr. Willoughby. Every once and a while there is a clash between “sense and sensibility” through the two sisters. As the novel progresses perhaps Austen will reveal whether reason can influence emotion, vice versa, or if they both influence each other throughout the sister’s

Jane Austen is often considered to have one of the most compelling narrative voices in literature. Blurring the line between third and first person, Austen often combines the thoughts of the narrator with the feelings and muses of the focalized character. Emma is perhaps her most prominent example of free indirect discourse, where the narrator’s voice is often diffused into that of the characters. In the following passage, Emma takes on her role at match-maker between Mr. Elton and Harriet Smith, two naïve and somewhat air-headed characters in the novel.

The novel is written in third person with an omniscient narrator. Austen uses very little detailed physical descriptions; instead, the novel is laid out by the use of dialogue between characters. Each individual's nature is revealed through clever dialogues and in the way the characters speak. ‘"Do not you want to know who has taken it?" cried his wife impatiently.' Austen's use of hyperbole and Mrs Bennet's hysteria reflects her phenomenally exasperating character. Whilst on the other hand, ‘"You want to tell me, and I have no objection to hearing it."' Mr Bennet has an unflustered approach towards the concerns of his daughters being married. The use of great quantity of dialogue is very effective in the novel. Even though it lacks physical description, and lavish speeches are rare, Austen is still able to engage the reader into the story.

The novel is told from third person omniscient. The narration in the novel are mostly focused on Elizabeth, but occasionally tells us information Elizabeth is unaware of. The novel being in third person shows that the novel is dominated by dialogue, opinions, ideas, and events, rather than emotions. What's really cool about this novel is that Jane Austen uses free indirect discourse. Free indirect discourse is a big clunky phrase that describes a special type of third-person narration that slips in and out of characters' consciousness. "In other words, characters' thoughts, feelings, and words are filtered through the third-person narrator in free indirect discourse." This affects the reader Because it lets Austen get the reader into some of

Much to Catherine’s pleasure, she has a walk scheduled with her sweetheart, Henry Tilney, and her dearest friend, Eleanor Tilney. However, on the morning of the walk, it rains. Austen uses the rain to foreshadow the upcoming unpleasant events. In the afternoon, the rain subsides leaving a muddy mess. Unexpectedly, Isabella Thorpe, John Thorpe, and James Morland arrive at her house. They request that Catherine go along on their trip to neighboring cites. However, Catherine feels obligated to stay in the house and await Henry Tilney and Eleanor Tilney. In his typical self-centered manner, John Thorpe declares that he saw Tilney engaging in other activities, “I saw him at that moment turn up the Lansdown Road, - driving a smart-looking girl” (Austen 53). Although perplexed as to why the Tilneys did not send word that their engagement should be broken, she consents to the proposed carriage ride. While riding out of her neighborhood, Catherine spots Eleanor and Henry Tilney walking towards her house. Catherine, exclaims, “Pray, pray stop, Mr. Thorpe. - I cannot go on. - I will not go on. - I must go back to Miss Tilney.” (Austen 54). John Thorpe disregarding Catherine’s plea, “laughed, smacked his whip, encouraged his horse, made odd noises, and drove on” (Austen 54). During this scene, Austen magnifies the villainy of John Thorpe by whisking away with innocent Catherine.

Jane Austen’s Northanger Abbey is a novel that features vibrant character development but the biggest development is that which occurs in Catherine Morland. Catherine’s character nearly develops in all components of her being and she is able to evolve from the unorthodox “heroine” that she is initially described as. In the novel, Catherine starts out as an incredibly naïve and inexperienced girl who confuses all facets of the real world as the plot in a Gothic novel. Catherine develops as a character through her social interactions with those around her as it helps her gain experience with how to correctly perceive the world. With her newly gained experience of her surroundings, Catherine develops and is able to see the real world through a social lens rather than her own subjective lens or that of a Gothic lens.

Even though Willoughbytreated Marianne abominably she still forgives him almost immediately; "for Marianne does - she has long forgiven you." However when Marianne looks back she sees that although Willoughby did treat her badly her behaviour was also partly to blame: ""Do you compare your conduct with his?" "No I compare it with yours." ". The damage to Marianne's reputation was not entirely Willoughby's fault.

This may be moderated by the history of displacement Jane Austen has provided for Fanny: the years of intimidation she has endured from Mrs Norris and her dependence on Edmund, whose kindness comes with instructions for her of how she should behave.

In the first thirteen chapters of Sense and Sensibility, how does Austen present Marianne and Willoughby’s relationship?! ! In the first thirteen chapters of this novel, Marianne and Willoughby’s relationship seems to escalate quickly, and could be described as one of the most romantic sectors of the story. ! From the very beginning, Marianne is portrayed as a character with a desire for passion and excitement, one for excessive romanticism.

So FID becomes a double-sided point of view, showing the impression of a character as observing other characters and being observed by the reader. The plot of Mansfield Park leads the reader to believe that we are examining the morality of the characters we are being introduced to, however the use of FID in Austen’s narration leads us to wonder exactly how much of our views are being influenced by Fanny and Austen’s beliefs. The use of FID shows us characters in a certain light to impress a morality that is endorsed throughout the book. Austen uses FID in her novel to put Fanny in a position to parallel the reader, so she is able to morally evaluate people but does not impose her view of morality on the characters of the novel.

Austen has also guided the reader to have the same opinions, as Elizabeth and this is the point in the reader realises that they too have formed inaccurate opinions and prejudices against characters. At the beginning of the novel the reader is intended to dislike Darcy. Austen creates this through the use of language by the omniscient narrator. Without realising it the reader has been forced to form a certain opinion of each character by the narrator, which is later reversed.

Willoughby may have loved Marianne, but because she was not considered to be good enough he wed someone else, leaving Marianne heartbroken and stunned. Marianne did everything in her power to contact and stay in touch. She believed that Willoughby truly was the one. Because of the way Austen writes these characters and their personalities, it shows how she personally feels about the society during this time. Elinor has a private desire and Marianne has a public desire.

Austen has set out to save the rising art form of the novel. In this address to the reader she glorifies what a novel should be: the unrestrained expression of words conveying the wide range of raw human emotion. This veneration of the novel is necessary to the development of Catherine's fiction-loving character as it justifies the narrator's right to remain fond of this flawed heroine.