Jane Austen’s

Narrative:

Layers of Communication

SENSE & SENSIBILITY (1811 & 1813) Lecture 4: Narrative

Innovations

SENSE & SENSIBILITY (1811 & 1813) Lecture 4: Narrative

Innovations

1

Austen introduces several innovations into the Novel Form:

She creates unprecedented access to the interior life of one of the protagonists (Elinor).

She does not use the Letter form to do this.

2

The author chooses the Point(s) of View from which

the story is told.

The narrative techniques that nineteenth-century authors use to relate their novels develop and change:Which Point of View is used in S & S ?

There is an unnamed third-person narrator, a story-telling device the author constructs to represent the characters, description and dialogue, plot, action and setting.

Is this the only narrative point of view Austen uses?

The narrative techniques that nineteenth-century authors use to relate their novels develop and change:Which Point of View is used in S & S ?

There is an unnamed third-person narrator, a story-telling device the author constructs to represent the characters, description and dialogue, plot, action and setting.

Is this the only narrative point of view Austen uses?

Third-person (Omniscient)Narrator: e.g.

Jude the Obscure

Third-person (Omniscient)Narrator: e.g.

Jude the Obscure

First-Person(Unreliable)

Narrator: e.g.The Catcher in

the Rye

First-Person(Unreliable)

Narrator: e.g.The Catcher in

the Rye

3

4

THE MAJOR NARRATIVE TECHNIQUES

THIRD-PERSON

NARRATION

(DIEGESIS)

MIMETIC DIALOGUE

FOCALISATION

THE USE OF IRONY

5

 

“[…] we identify, and identify with Elinor rather than

Marianne as the heroine of Sense and Sensibility because we

see much more of the action from Elinor’s point of view,

because we have more access to her private thoughts and

because there is much greater consonance between the

narrator’s language and the language of Elinor’s

consciousness.”

– David Lodge, After Bakhtin: Essays on fiction and

criticism, 1990: 126–127.

THE NARRATOR’S COMMENTS MAY

BE ‘NEUTRAL,’ OR

INTRUSIVE MORAL JUDGEMENTS.

THE NARRATOR CONVEYS:

THEME, PLOT

CHARACTERS

(FOCALISATION)

SETTING (Time, Place)

IMAGERY, SYMBOL

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A Combination of Dialogue (Mimesis) and Third-Person Narration (Diegesis) from Vol. II, Chapter IX

“Good heavens!” cried Elinor, “could it be—could Willoughby!”—

“The first news that reached me of her,” he continued, “came in a letter from herself, last October. It was forwarded to me from Delaford, and I received it on the very morning of our intended party to Whitwell; and this was the reason of my leaving Barton so suddenly, which I am sure must at the time have appeared strange to every body, and which I believe gave offence to some. Little did Mr. Willoughby imagine, I suppose, when his looks censured me for incivility in breaking up the party, that I was called away to the relief of one whom he had made poor and miserable; but had he known it, what would it have availed? FEELINGS CONVEYED DIRECTLY

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Would he have been less gay or less happy in the smiles of your

sister? No, he had already done that, which no man who can feel

for another would do. He had left the girl whose youth and

innocence he had seduced, in a situation of the utmost distress,

with no creditable home, no help, no friends, ignorant of his

address! He had left her, promising to return; he neither returned,

nor wrote, nor relieved her.”

“This is beyond every thing!” exclaimed Elinor.

“His character is now before you; expensive, dissipated, and worse

than both. Knowing all this, as I have now known it many

weeks, guess what I must have felt on seeing your sister as fond

of him as ever, and on being assured that she was to marry him:

guess what I must have felt for all your sakes.

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When I came to you last week and found you alone, I came determined to know the truth; though irresolute what to do when it was known. My behaviour must have seemed strange to you then; but now you will comprehend it. To suffer you all to be so deceived; to see your sister—but what could I do? I had no hope of interfering with success; and sometimes I thought your sister’s influence might yet reclaim him. But now, after such dishonourable usage, who can tell what were his designs on her. Whatever they may have been, however, she may now, and hereafter doubtless will turn with gratitude towards her own condition, when she compares it with that of my poor Eliza, when she considers the wretched and hopeless situation of this poor girl, and pictures her to herself, with an affection for him so strong, still as strong as her own, and with a mind tormented by self-reproach, which must attend her through life.

ARGUMENT BY ANALOGY

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Surely this comparison must have its use with her. She will feel

her own sufferings to be nothing. […] Use your own

discretion, however, in communicating to her what I have told

you. You must know best what will be its effect; but had I not

seriously, and from my heart believed it might be of service,

might lessen her regrets, I would not have suffered myself to

trouble you with this account of my family afflictions, with a

recital which may seem to have been intended to raise myself

at the expense of others.”

Elinor’s thanks followed this speech with grateful earnestness;

attended too with the assurance of her expecting material

advantage to Marianne, from the communication of what had

passed.

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NARRATION OF MARIANNE’S ILLNESS

In Vol. III, chps. VII & VIII, the novel’s first climax occurs when Marianne nearly dies.

Although it is she who is so ill, this episode is narrated from Elinor’s point of view, which is focalised.

Is this:

Because Marianne is feverish, delirious and confused?

Because the narrator wishes to show Elinor’s sense and maturity as she takes adult decisions while caring for her younger sister?

Does the narrator want to show how Elinor’s calmness may, in turn, have a calming effect on Marianne?

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But the day did not close so auspiciously as it began.— Towards

the evening Marianne became ill again, growing more heavy,

restless, and uncomfortable than before. Her sister, however, still

sanguine [hopeful], was willing to attribute the change to nothing

more than the fatigue [tiredness] of having set up [sat up] to have

her bed made; and carefully administering the cordials [medicines]

prescribed, saw her, with satisfaction, sink at last into a slumber,

from which she expected the most beneficial effects. Her sleep,

though not so quiet as Elinor wished to see it, lasted a considerable

time; and anxious to observe the result of it herself, she resolved to

sit with her during the whole of it. Mrs. Jennings, knowing nothing

of any change in the patient, went unusually early to bed; […], and

Elinor remained alone with Marianne.

From whose point of view is the underlined sentence narrated?

At what stage does the point of view shift to Elinor?

3RD

P

3RD

P

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During the passage, Elinor initially takes care of her sister (giving her “cordials” – prescribed medicines).

The phrase “with satisfaction” suggests that she is pleased with Marianne’s progress.

M. seems much better, so why does Elinor not leave her and go to her own room to rest?

The sentence “Her sleep, though not so quiet as Elinor wished to see it […]” shows how carefully Elinor is observing her.

If Elinor were to speak her thoughts to Mrs. J, she might say “I am anxious to see the effect that this rest has on Marianne.”

Elinor’s preference for keeping her thoughts to herself shows her maturity and good sense.

Who is the one character in whom she confides?

14

Elinor perceived with alarm that she was not quite herself, and, while attempting to soothe her, eagerly felt her pulse. […] To consult with Colonel Brandon on the best means of effecting the latter, was a thought which immediately followed the resolution of its performance, […].

It was no time for hesitation. Her fears and her difficulties were immediately before him. Her fears, he had no courage, no confidence to attempt the removal of:—he listened to them in silent despondence;—but her difficulties were instantly obviated, for with a readiness that seemed to speak the occasion, and the service pre-arranged in his mind, he offered himself as the messenger who should fetch Mrs. Dashwood. Elinor made no resistance that was not easily overcome. She thanked him with brief, though fervent gratitude, and while he went to hurry off his servant with a message to Mr. Harris [the apothecary], and an order for post-horses [horses from local Inn] directly, she wrote a few lines to her mother.

Where is Elinor’s point of view focalised? How is reported speech used in Parag. 2?

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The comfort of such a friend at that moment as Colonel Brandon—or such a companion for her mother,—how gratefully was it felt!—a companion whose judgment would guide, whose attendance must relieve, and whose friendship might soothe her!—as far as the shock of such a summons could be lessened to her, his presence, his manners, his assistance, would lessen it.

In this paragraph, Elinor’s feelings are again focalised.

The narrator use dashes to convey how one feeling after another moves through Elinor’s mind.

Which words in this passage carry Elinor’s emotions?

How is repetition used in the passage to convey her feelings?

Focalisation adds another layer to the narrative:The third-person narrator conveys what a character thinks and feels: mostly Elinor, but also Brandon, Edward & Marianne

Indeed, the narrator seems to angle the story through Elinor’s point of view.

Does this make her Elinor more important than Marianne?

Does this give more importance to “sense”, which Elinor embodies, than to “sensibility”? 16

17

How Austen narrates a character’s inner thoughts:

The narrator can include letters from one character to another. Letters may:

1. Communicate the inner thoughts, unspoken emotions and desires of those who write them in the first person.

2. Be very formal and deny those feelings (Willoughby).3. May mask the true intentions of the letter writer (Lucy)

The third-person narrator may focalise a character (tell the story from this character’s point of view):

1. This provides access to the character’s thoughts and feelings.

2. This allows access to the largely silent (taciturn) characters’ motivation and also observations of others.

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THE FOCALISER

(OR FOCUS OF CHARACTER)

AND HOW IT GIVES THE READER ACCESS

TO ELINOR’S THOUGHTS AND FEELINGS.

AS SHE IS A VERY SILENT,

DISCREET CHARACTER,

HOW ELSE WOULD WE KNOW

HER THOUGHTS AND EMOTIONS?

19

IRONY

IRONYIR

ON

Y

Irony is often be part of the point of view Austen’s narrator uses. Irony exposes misrepresentation or concealment of the truth.

What is said differs from what is intended; reality differs from the appearance. There are three types of Irony in S & S:

Verbal Irony:

Affects the way

the narrator or

the characters

use words.

Dramatic Irony:

Affects the

relationship

between Reader,

Author and one or

more characters.

Structural Irony

The Speaker is

placed in Ironic

situations that may

undercut his or her

earlier views.20

21

Verbal Irony: “is a statement in which the meaning that a

speaker implies differs sharply from the meaning that is

expressed.” (Abrams 2009: 165).

Structural Irony: “depends on the ironic intention of the author, which is shared by the reader but not is not the intention of the fictional speaker” (Abrams 2009: 185). A character may hold an opinion at one time, but later circumstances force him/her to re-think it.

Dramatic Irony: “involves a situation in a … narrative in

which the … reader shares with the author knowledge of

present or future circumstances of which a character is

ignorant” (Abrams 2009: 143).

Austen uses these three types of Irony to expose and

undercut

the simplistic codes of conduct and

the literary and cultural stereotypes of the period

Austen uses Irony to make readers stand back from:

a statement uttered or emotion expressed

and re-evaluate it;

particularly exaggerated emotions, such as

Marianne, Willoughby, Lucy and Fanny express.

Thus, Irony involves a reversal of the existing order: the way

characters understand their world and the relations of power.22

23

VERBAL IRONY: “Engage” may mean several things:

“Keep busy”, as when Lucy and Elinor keep busy fixing little Annamaria’s basket while discussing Edward:

“Lucy made room for her with ready attention, and the two fair rivals were thus seated side by side at the same table, and, with the utmost harmony, engaged in forwarding the same work.” (104)

Lucy’s “four years’ engagement” (105) to Edward implies they have an understanding of future married.

“Four years” tells us that they met as very young people and – as Edward’s attraction to Elinor suggests – his feelings for Lucy may belong in the past. But do they?

Why does Lucy keep begging Elinor for advice? Does Lucy perhaps know what Edward feels for Elinor? (107).

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An engagement may just mean an appointment, such as those Mrs Jennings has to fulfill in the evenings (118).

“Engagement”: Marianne is thought to be betrothed to Willoughby. Even Brandon thinks so: “‘to your sister I wish all imaginable happiness; to Willoughby that he may endeavour to deserve her” (123). Elinor is unsure, but Marianne is extremely secretive.

After Willoughby coldly dismisses M. at the party, any idea of a romantic tie between Marianne & Willoughby is in doubt:

“That some kind of engagement had subsisted between Willoughby and Marianne she could not doubt, and that Willoughby was weary of it, seemed equally clear; for however Marianne might still feed her own wishes, she could not attribute such behaviour to mistake or misapprehension of any kind.” (126)

25

Verbal Irony soon becomes Structural irony:

Who know what about whom?

Lucy knows that Elinor and Edward have feelings for each other but does not want to acknowledge this publicly.

Edward thinks his engagement to Lucy is still secret.

Elinor knows about the engagement (but only Lucy knows she knows) and wants to protect Marianne from the distress of thinking that Edward has broken her (Elinor’s) trust.

In Vol. II, xiii, just before Edward enters an awkward meeting between Elinor and Lucy, Elinor wonders whether Mrs. F. would make life difficult for anyone Edward married.

Who will Edward eventually marry?

Structural Irony: it is Elinor.

26

Elinor’s curiosity to see Mrs. Ferrars was satisfied.— She had found in her every thing that could tend to make a farther connection between the families, undesirable.—She had seen enough of her pride, her meanness, and her determined prejudice against herself, to comprehend all the difficulties that must have perplexed the engagement, and retarded the marriage, of Edward and herself, had he been otherwise free;—and she had seen almost enough to be thankful for her own sake, that one greater obstacle preserved her from suffering under any other of Mrs. Ferrars’s creation, preserved her from all dependence upon her caprice, or any solicitude for her good opinion. Or at least, if she did not bring herself quite to rejoice in Edward’s being fettered to Lucy, she determined, that had Lucy been more amiable, she ought to have rejoiced. […]. p. 168.

Of whose “engagement” is Elinor thinking?

Does Lucy think she has met with Mrs. Ferrars’s approval?

Will Lucy keep to her engagement with Edward?

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DRAMATIC IRONY:

When Elinor meets Robert Ferrars she recognises he is “exactly the coxcomb she had heard him described to be by Lucy” (176, 106).

The narrator shows Robert to be a complete contrast to his brother, Edward (this is a novel of contrasts!).

After Lucy and Edward’s secret has been exposed, Elinor visits her brother in Harley Street and meets Robert there.

John leaves Elinor “to improve her acquaintance with Robert.”

This is Dramatic Irony as the reader already knows that she thinks he is a very shallow, conceited and vain man.

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The irony becomes Structural when Robert categorically mocks and insults Lucy.

Robert is intensely amused at the idea of his brother becoming a clergyman and living on very little money.

The narrator focalises Elinor in her reaction to Robert:

Elinor, while she waited in silence and immovable gravity, the conclusion of such folly, could not restrain her eyes from being fixed on him with a look that spoke all the contempt it excited. It was a look, however, very well bestowed, for it relieved her own feelings, and gave no intelligence to him. He was recalled from wit to wisdom, not by any reproof of her's, but by his own sensibility.

Robert is still very “diverted” (amused) and shows a complete lack of empathy with his brother and disdain for a young woman who has very little money.

29

“Have you ever seen the lady?”

“Yes; once, while she was staying in this house, I happened to drop in for ten minutes; and I saw quite enough of her. The merest awkward country girl, without style, or elegance, and almost without beauty.— I remember her perfectly. Just the kind of girl I should suppose likely to captivate poor Edward.”

The Structural Irony really becomes apparent in Vol. III, xii, when Edward visits the Dashwoods at Barton and they believe he has married Lucy.

He is perplexed and finally says (254):"Perhaps you mean—my brother—you mean Mrs.—Mrs. ROBERT Ferrars."

"Mrs. Robert Ferrars!"—was repeated by Marianne and her mother in an accent of the utmost amazement;—and though Elinor could not speak, even her eyes were fixed on him with the same impatient wonder.

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Mrs Jennings is vital to the Marriage Plot, giving rise to several structural ironies:

1. Mrs J. guesses whom Elinor is in love with, and gets Margaret to admit “his name begins with an F” (47).

2. Mrs J. sees Brandon loves Marianne (29, 38, 53) & follows her indiscretions with Willoughby (51, 73).

4. In London, Mrs J. thinks Elinor & Brandon are in love. Author and reader know the truth (E. & B. are discussing

B’s gift of the living of Delaford to Edward.)

3. Mrs J advances the marriage plot by inviting

E & M to London: “and if I don’t get one of you at least well married before I have done with you, it shall not be my fault” (109).

Ironically, both girls do marry. Has

this been Mrs Jennings’ doing?

Do they marry fashionably wealthy

young men? Ironically, NO.

Do they end up living in London?

Ironically, NO.

Are they “well married”? If “well means

“happy”, then (ironically), YES. 31

32

From Ang Lee’s film of Sense and Sensibility: Mrs Jennings and Elinor. Elinor’s changing perception of Mrs Jennings shows how she matures during this novel of development.

Ironically, Elinor at first finds Mrs J annoying and, perhaps, not in the same social class as the Dashwoods.

“‘My objection is this; though I think very well of Mrs Jennings’ heart, she is not a woman whose society can afford us pleasure, or whose protection will give us consequence’” (111).

It is a structural irony that Elinor will learn to appreciate Mrs J’s very fine qualities: true generosity, sincerity and kindness after Willoughby betrays Marianne, who becomes emotionally distressed and ill, in vol.III.

At Cleveland, the girls’ hostess, Charlotte Palmer flees with her baby on hearing that M. is ill. The narrator comments, approvingly:

“Mrs J, however, with a kindness of heart which made E. really love her, declared her resolution of not stirring from Cleveland as long as M. remained ill and of endeavouring …to supply to her the place of her mother…” (217).

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THE NOVEL OF DEVELOPMENT, REVISITED

In the novel of development, the (female) hero’s strength of

character is tested: Elinor’s greatest trial occurs when Marianne

is desperately ill. After 8 pm, E. expecting their mother, rushes

downstairs. Ironically, the new arrival is Willoughby.

This climactic encounter tests her powers of self-control (in Vol.

1, the narrator states that E’s “feelings were strong; but she

knew how to govern them” (p.8).

Willoughby’s sudden abandonment of Marianne confirmed for

Elinor that his motives were not honourable.

The narrator treats this confrontational scene (a climactic

moment) by making her the focaliser that gives access to

Elinor’s thoughts and feelings.34