SENSE & SENSIBILITY

NOVEL ANALYSIS

BY:

Syerin ( 0620160107 )

Annisa Fitri Sukainah ( 06120160100 )

Nabila Tasya Q ( 06120160123 )

Fatahillah Syahnur ( 06120160115)

ENGLISH LITERATURE
FACULTY OF LETTERS
INDONESIA MOSLEM UNIVERSITY
2019
 CHAPTER I

INTRODUCTION

Sense and Sensibility was first written in 1797 in an epistolary form.

Later on she brought many changes in the form and content and finally
published Sense and Sensibility in 1811 after fourteen years of preparation.
She presents her concern in moralistic points, by writing her novel in an
antithetical way, giving its title Sense and Sensibility.

Sense and Sensibility represents neoclassical, dualistic moral world

where the values of reason and restraint will finally become victorious over
the impulsive, romantic sensibility. Not only that, she makes a severe satire of
the hypocrisies of the eighteenth century society where the aristocrats are
praised and indirectly influences young minds, not to value love but to betray
it just for the sake of wealth. In the novel, Lucy and Willoughby symbolize
this type of people of the society.

The novel in an implicit way depicts the gaps that occur between
language and behavior, feeling and action. For Marianne the relationship is to
be found on the unmediated openness of one freely expressive heart to
another. But for Elinor marriage is a first social contract. This social contract
is first mediated by a language, which preserves a rational and decorous
civilization as a stay against humankind's baser instincts. The novel represents
the two sisters who had a different approach to love and relationships.
Marianne has chosen an impulsive and abstractly romantic path to life, love
and relationship. Her chosen partner Willoughby is also unbelievably dashing
handsome. But Willoughby turns out to be a wolf in sheep's clothing: he
betrays Marianne. By showing the tragic collapse of Marianne-Willoughby
love relation, Jane Austen is trying to warn to those who tend to find love
through unrestricted impulse. Through this failure of love of Marianne,
Austen is expressing her dissatisfaction towards any individual attempt to
form any relationship basing on abstract emotion.

Austen highlights the life approach of Elinor that is based on the sense
and reasoning. Elinor has that quality which helps her to manage her feeling at
any situation, whether it be too sad or happy. She rationally and sensibly
examines her relationship with Edward and its consequences. When her
relation was broken up by Fanny, she perfectly controls upon her emotions
and does not lose the normal framework of the mind. She possesses a good
sense and because of that she can stand strong, even at the time of tragic
separation from Edward. She is positively guided by her sense.

The novel presents the eighteenth century trend and the culture of love
making. Moreover, it also shows what kinds of love making leads to the
successful marriage. Two trends in the eighteenth century love making art are
symbolized by Elinor and Marianne.
 CHAPTER II

DISCUSSION

A. PLOT
1. Introduction
There are two main characters in this novel. They are Elinor and
Marianne. These both characters represent the "sense" and "sensibility"
itself. As taken from answers.
Henry Dashwood lived at Norland Park in Sussex, England, a property
owned by his wealthy uncle. Henry had three daughters by his current
wife and one son from a prior marriage. When his uncle died, Norland
was left to Henry’s son John and John’s own son. Henry’s widow, Mrs.
Dashwood, and her three daughters (the rational and self-controlled
Elinor, the sensitive Marianne, and the young Margaret) stay at Norland
for several months after Henry’s death.

2. Conflict
The inciting incident is the death of their father. Then after the burial,
the Dashwood sisters and their mother move from their home, Norland, to
a whole new life far away in Devonshire. Here is the beginning of their
experiences.
Willoughby enters the scene, and Marianne falls in love. The central
conflict shows up here, in the dashing form of John Willoughby. Marianne
immediately falls in love with him, and her impulsive passion directs the
course of much of the action from here on out – since Marianne is the
more active of the two sisters, Elinor's thoughts and her own deeds often
follow as consequences of her sister's passionate, headlong progress
through life.
3. Climax
The first climax takes place when Marianne receives her
heartbreaking letter from Willoughby. It is at this moment that the reader
knows for sure that there is absolutely no future relationship for Marianne
and Willoughby.
The climax in the plot involving Elinor happens a bit later. At first we
have a false climax when Fanny Dashwood learns about Edward's secret
engagement and it begins to look like his marriage to Lucy is inevitable.

4. Falling Action
On the night of Marianne's recovery from the brink of death,
Willoughby shows up to set the record straight. His conversation with
Elinor is the first in a string of revelations that reorganizes everything in
everyone's relationships. We learn, satisfactorily, that Willoughby really
loved Marianne after all. Shortly thereafter, once the family returns home
to Barton Cottage, reunited and recovered, we learn that Edward and Lucy
broke up, and that he's loved Elinor all along. All of our mysteries are
solved.

5. Resolution
Finally, the way is clear for Edward and Elinor – he even makes up
with his family, so we don't have to worry as much about their practical
situation. After months and months of confusion, secrets, and struggles,
everything is out in the open. Marianne gets over Willoughby, and finally
learns to appreciate Colonel Brandon. She eventually agrees to marry the
colonel, and the two couples live happily, close in distance and in
friendship. We end with the hint that Margaret, the youngest Dashwood, is
grown up enough to become the center of her own love story.
B. CHARACTER
1. Major character : Elinor Dashwood
Marriane Dashwood
Mrs. Dashwood
Edward Ferras
John Willoughby

2. Minor character : Margaret Dashwood

Fanny Dashwood
Lady Middleton
Colonel Brandon
Mrs. Palmer
Mr. Palmer
Anne Steel
Lucy Steel
Mrs. Ferrars
Mr. Ferrars
Miss grey

3. Characterization
 Ellinor Dashwood
Elinor, this eldest daughter, whose advice was so effectual,
possessed a strength of understanding, and coolness of judgment,
which qualified her, though only nineteen, to be the counsellor of her
mother, and enabled her frequently to counteract, to the advantage of
them all, that eagerness of mind in Mrs. Dashwood which must
generally have led to imprudence. She had an excellent heart;—her
disposition was affectionate, and her feelings were strong; but she
 knew how to govern them: it was a knowledge which her mother had
yet to learn; and which one of her sisters had resolved never to be
taught.

 Marianne Dashwood
Marianne’s abilities were, in many respects, quite equal to
Elinor’s. She was sensible and clever; but eager in everything: her
sorrows, her joys, could have no moderation. She was generous,
amiable, interesting: she was everything but prudent. The resemblance
between her and her mother was strikingly great.

 Mrs. Dashwood
Mr. Dashwood’s disappointment was, at first, severe; but his
temper was cheerful and sanguine; and he might reasonably hope to
live many years, and by living economically, lay by a considerable
sum from the produce of an estate already large, and capable of almost
immediate improvement.

 Edward Ferrars
Edward Ferrars was not recommended to their good opinion by
any peculiar graces of person or address. He was not handsome, and
his manners required intimacy to make them pleasing. He was too
diffident to do justice to himself; but when his natural shyness was
overcome, his behaviour gave every indication of an open, affectionate
heart. His understanding was good, and his education had given it
solid improvement. But he was neither fitted by abilities nor
disposition to answer the wishes of his mother and sister, who longed
to see him distinguished—as—they hardly knew what.
  Colonel Brandon
He was silent and grave. His appearance however was not
unpleasing, in spite of his being in the opinion of Marianne and
Margaret an absolute old bachelor, for he was on the wrong side of
five and thirty; but though his face was not handsome, his countenance
was sensible, and his address was particularly gentlemanlike.

 Willoughby
Willoughby was a young man of good abilities, quick
imagination, lively spirits, and open, affectionate manners. He was
exactly formed to engage Marianne’s heart, for with all this, he joined
not only a captivating person, but a natural ardour of mind which was
now roused and increased by the example of her own, and which
recommended him to her affection beyond every thing else.

C. SETTING
1. Place
 Norland Park
The first home Mrs. Dashwood and daughters before live
 Barton park
The new home for Mrs. Dashwood and daughters from Mr.
John Dashwood, Barton, in a county so far distant from
Sussex as Devonshire.
 Allenham
willoughby’s home town
 Somersethire
Place when their want’s to make party
 2. Time
 First on September
 First on October In the morning at bond street
 Sunday on January

D. STYLE
Austen's style is famously… well, together. Simply put, she just really
knows what she's up to. She doesn't believe in mincing words, nor does she
indulge in long, flowery flights of fancy like many of the other novels of her
time. Instead, Austen writes with a delightful economy, and her precise, clear
narration cuts through the occasionally convoluted speeches of her more
hilarious characters, such as Miss Steele and Mrs. Jennings. No matter how
complicated her plots become, or how her characters mystify themselves and
each other, Austen's readers are always guided by her strength, consistency,
and clarity of style.

E. THEME
Love is a many splendour thing, sure, but it's also a many troubled
thing, if you ask Austen. In Sense and Sensibility, she shows us dramatically
different facets of this crazy little thing we call love, from the euphoric to the
life-threatening. While love is certainly the driving force of the various plots
we see in this novel, it's not always a good thing – in fact, more often than
not, there's an edge of danger or tragic potential in it. Love, asserts this book,
is wonderful and beautiful and all, but there's always a chance that it'll creep
up behind you and stab you in the back.
 CHAPTER III

CONCLUTION

Jane Austen tried to show the excessive sensibility will be dangerous for us.
Austen is concerned with the prevalence of the “sensitive” attitude in the romantic
novel which, turned to emphasizing the emotional and sentimental nature of people
rather than, as before. in the example of Marianne and showing the superiority of
sense, in the example of Elinor. At the end of the novel, sense is finally justified and
sensibility shown to be weakness. Ironically, Marianne marries a prosaic older an,
and for both it is the second love, something Marianne vowed she could never
tolerate. Elinor’s fate is more romantic, she marries her first and only love.