Classic Tales

Back in September, I stepped into the 21st century and got my very first iPod (or MP3 player for that matter). I was told by a friend that I absolutely HAD to subscribe to The Classic Tales podcast. Josh, I owe you. Big time!

This really is a wonderful treat for anyone who likes great literature and/or audiobooks. Each week host B. J. Harrison reads a complete and unabridged (!) work of literature. They are usually short stories, but he has also done longer novellas as well. The stories and authors vary greatly, from Arthur Conan Doyle's The Hound of the Baskervilles to P. G. Wodehouse's Leave it to Jeeves, and Mr. Harrison's dramatic presentation adds greatly to the listening experience.

Some of the most recent stories that I have enjoyed include Rikki-tikki-tavi by Rudyard Kipling, The Strange Case of Dr. Jeckyll and Mr. Hyde by Robert Louis Stevenson and The Machine Stops by E. M. Forster.

There are lots of ways to get a hold of this great audiobook collection. First, you can subscribe (FREE!) at iTunes and then download it to your MP3 player. If you don't want to subscribe, you can download each week's episode here. If you want to purchase past episodes (including A Christmas Carol by Charles Dickens) you can do that here.

There are some great stories coming up, including Tarzan of the Apes by Edgar Rice Burroughs, so sign up now!

"There is one day that is ours. Thanksgiving Day is the one day that is purely American."

~O. Henry

Wishing you and yours a wonderful Thanksgiving!

The Tenant of Wildfell Hall

Poor Anne Bronte tends to live in the shadows of her two older sisters, Charlotte and Emily. Readers only manage to get around to her after reading Jane Eyre and Wuthering Heights, if at all. This is most unfortunate, because though her writing style is different from her sisters, it is still poignant and relative to today's world. Her second and last novel, The Tenant of Wildfell Hall, shows the true beauty of grace and love and seals her right to join her sisters in the rank of classic author.

The Plot:

The novel is told as a series of letters from Gilbert Markham to his brother in-law, discussing earlier events in his life. "You must go back with me to the autumn of 1827. " At that time, Gilbert was a young, prosperous farmer who was casually courting the younger daughter of the local vicar, Eliza Millward. His life is pretty routine and ordinary until the arrival of a young widow and her son to nearby Wildfell Hall. The neighborhood is at once astir with curiosity and seeks to know more about her, though Helen Graham is reticent to be drawn in to the local social circles. At first, Gilbert is offended by her cool and distant treatment, but as he slowly gains her trust, he begins to discover the true sweetness and gentleness of her nature. They spend more and more time together, discussing her art (which she sells for a living) as well as literature. But as Gilbert's infatuation grows, ugly rumors begin to surface regarding Helen's past, most of them spread by the spiteful Eliza Millward.

Gilbert disbelieves everything said against Helen, at first. But as circumstances seem to point towards the truth of the rumors, his suspicions are aroused and he demands the truth from her. Her only answer is to give him her diary, which contains the dread secret that she has been so desperately trying to hide. As Gilbert reads Helen's sad story, his love for her grows. But the awful secret contained in the pages of her diary threatens to keep them apart forever.

My Review (Caution-Spoilers):

Oh, those lovely, lovely Bronte girls! All so different and all so wonderful. Like most readers, I picked up The Tenant of Wildfell Hall because I had already read Charlotte and Emily. Most critics talk down Anne's work, so I wasn't quite sure what to expect. I must say that I found it to be a very pleasant read. There are many similarities between Anne's and Charlotte and Emily's works, as well as many differences. Some of these make Wildfell Hall better, while others bring it somewhat below the other works.

The main difference between the works is the tone that Wildfell Hall takes. While it is certainly along the Gothic (as well as the Byronic) lines of the other Bronte novels, it leans more towards realism than romance. There is no mad wife locked in the attic, nor do ghosts appear at windows. Instead we have real people with real problems; problems that we still face today. Though Anne touches on the problem of a woman leaving her husband, that is not really the point. Unfortunately, Wildfell Hall, like Jane Eyre, tends to be painted into the "feminist novel" corner. Just because a novel has a strong woman as the main character does not make it "feminist". In the novel, Anne spends more time on the horrible problem of alcoholism (as experienced through her brother, Branwell) and the overwhelming grace of God than she does on "feminist" writing. In fact, you could almost say that salvation and grace are the biggest themes of the novel. Here we have Arthur Huntingdon who treats Helen abominably throughout the story. And yet, as he is dying, Helen returns to nurse him and comfort him. She tries to make him see that even now, with all of his sin, he can still accept the grace of God.

'"Stay with me, Helen," he says; "let me hold you so: it seems as if harm could not reach me while you are here. But death will come - it is coming now - fast, fast! - and - Oh, if I could believe there was nothing after!"

'"Don't try to believe it, Arthur; there is joy and glory after, if you will but try to reach it!"

'"What, for me?" he said, with something like a laugh. "Are we not to be judged according to the deeds done in the body? Where's the use of a probationary existence, if a man may spend it as he pleases, just contrary to God's decrees, and then go to heaven with the best - if the vilest sinner may win the reward of the holiest saint, by merely saying, "I repent!"'

'"But if you sincerely repent - "

'"I can't repent; I only fear."

'"You only regret the past for its consequences to yourself?"

'"Just so - except that I'm sorry to have wronged you, Nell, because you're so good to me."

'"Think of the goodness of God, and you cannot but be grieved to have offended Him."

'"What is God - I cannot see Him or hear Him? - God is only an idea."

'"God is Infinite Wisdom, and Power, and Goodness - and LOVE; but if this idea is too vast for your human faculties - if your mind loses itself in its overwhelming infinitude, fix it on Him who condescended to take our nature upon Him, who was raised to heaven even in His glorified human body, in whom the fullness of the Godhead shines."

Though I really enjoyed the story of Wildfell Hall, there are a few things that somewhat lowered it in my esteem. Perhaps it is because I have loved Jane Eyre for so long, but this novel just couldn't reach the heights of that one. The characters, though as full of passion as Rochester and Jane, never really seemed to come alive. I never lost that subconscious understanding that these were not real people. They just couldn't quite rise from the page. The other problem for me was the format that Anne chose to use. Though it is in the first person, it is addressed to an unknown reader, making me feel more like an intruder than the intimate friend that I felt I was while reading Jane Eyre.

Though it lacks the power and wonderful characterization of Jane Eyre and the technical skill and correctness of Wuthering Heights, The Tenant of Wildfell Hall is still a wonderful story of grace, love and forgiveness. And though Anne only lived to be 29, she left with as rich a literary legacy as her sisters. She is truly worthy of the name Bronte!

The Movie:

There have been 2 versions of this classic Bronte tale made for television, both by the BBC. The first was in 1968 starring Janet Munro and Bryan Marshall as Helen and Gilbert.

The other more popular version was made in 1996 and stars Tara Fitzgerald as Helen and Toby Stephens as Gilbert. I have only seen a few clips of it and it seemed fine. Toby Stephens especially seems to pull off the young, passionate Gilbert very well. The Amazon.com ratings are pretty good, though differences between the film and the book are noted in many of them.

Trivia: Both Tara Fitzgerald and Toby Stephens would star in the 2006 adaptation of another Bronte classic, Jane Eyre, with Tara playing Mrs. Reed and Toby giving a wonderful turn as Edward Rochester.

Happy Birthday To:

Robert Louis Stevenson

November 13, 1850

Give to me the life I love,

Let the lave go by me,

Give the jolly heaven above

And the byway nigh me.

Bed in the bush with stars to see,

Bread I dip in the river -

There's the life for a man like me,

There's the life for ever.

Let the blow fall soon or late,

Let what will be o'er me;

Give the face of earth around

And the road before me.

Wealth I seek not, hope nor love,

Nor a friend to know me;

All I seek, the heaven above

And the road below me.

Or let autumn fall on me

Where afield I linger,

Silencing the bird on tree,

Biting the blue finger.

White as meal the frosty field -

Warm the fireside haven -

Not to autumn will I yield,

Not to winter even!

Let the blow fall soon or late,

Let what will be o'er me;

Give the face of earth around,

And the road before me.

Wealth I ask not, hope nor love,

Nor a friend to know me;

All I ask, the heaven above

And the road below me.

~The Vagabond

The Complete (and Unabridged) Jane Austen: Pride and Prejudice

"There are few people whom I really love, and still fewer of whom I think well. The more I see of the world, the more am I dissatisfied with it; and everyday confirms my belief of the inconsistency of all human characters, and of the little dependence that can be placed on the appearance of either merit or sense."

Without a doubt, Pride and Prejudice is Austen's most popular and enduring work. Though it was first published almost 200 years ago, it's story and characters still resonate with 21st century readers and has spawned numerous screen and stage adaptations as well as various sequels and prequels. With good reason! It is probably Austen's most amusing and accessible story; her characters leap off the page and almost live and breathe before our very eyes. With her trademark wit and irony, Austen takes very ordinary people in very ordinary situations and makes them extraordinary.

The Plot:

Charming and witty Elizabeth is the second of the Bennett family's five daughters. Since their father's estate is entailed upon a distant cousin, Mrs. Bennett's goal in life is to see that her daughters marry well (rich). When eligible bachelor Charles Bingley settles near them, she is sure that he will marry one of the girls. His eye is immediately caught by the sweet and beautiful Jane, and they seem to be forming an attachment. Elizabeth is initially interested in Bingley's friend Mr. Darcy, but his haughty manners put her off. Her dislike for him increases when she is told of apparent wrongdoing towards the son of his father's steward, George Wickham. Bingley abruptly leaves the neighborhood and Jane goes to London brokenhearted.

Elizabeth meets Mr. Darcy again while visiting friends in Kent and it is there that she discovers that Mr. Darcy separated Bingley and Jane because her family was "unsuitable". When Darcy reveals his love for Elizabeth and proposes marriage, she stoutly refuses him citing his interference with Bingley and Jane as well as his injustice to Mr. Wickham. As the truth is slowly revealed and Darcy's true character comes to light, Elizabeth begins to see how wrong she was, and wonders if her chance at happiness is gone forever.

My Review (Caution-Spoilers):

Aah, those first impressions. In this novel, Austen reveals how unfortunate it is that we sometimes allow the first few seconds to determine our relationships with other people. This is exactly the mistake that both Elizabeth and Darcy make and it almost cost them their happiness.

"...to her he was only the man who made himself agreeable nowhere, and who had not thought her handsome enough to dance with."

"Mr. Darcy had at first scarcely allowed her to be pretty; he had looked at her without admiration at the ball; and when they next met, he looked at her only to criticise."

Elizabeth especially has a hard time seeing past her early prejudices when judging people. Her abhorrence of Mr. Darcy stems mainly from his insult upon their first meeting, while her good opinion of Wickham is due almost entirely to his agreeable manners. She soon discovers that her prejudices blinded her both to Mr. Darcy's real goodness as well as Wickham's true colors. It is only once she is at Pemberly, hearing Darcy praised by those who knew him best, that Elizabeth realizes her mistake.

"There was certainly at this moment, in Elizabeth's mind, a more gentle sensation towards the original than she had ever felt in the height of their acquaintance. The commendation bestowed on him by Mrs. Reynolds was of no trifling nature. What praise is more valuable than the praise of an intelligent servant? As a brother, a landlord, a master, she considered how many people's happiness were in his guardianship! -- How much of pleasure or pain it was in his power to bestow! -- How much of good or evil must be done by him! Every idea that had been brought forward by the housekeeper was favourable to his character, and as she stood before the canvas, on which he was represented, and fixed his eyes upon herself, she thought of his regard with a deeper sentiment of gratitude than it had ever raised before; she remembered its warmth, and softened its impropriety of expression."

There is also a great irony being played out throughout the entire novel. As with Persuasion, Austen attacks the idea that rank determines good breeding. The main reason that Darcy gives for breaking up Jane and Bingley is the behavior of the majority of the Bennet family.

"The situation of your mother's family, though objectionable, was nothing in comparison of that total want of propriety so frequently, so almost uniformly, betrayed by herself, by your three younger sisters, and occasionally even by your father."

Funny thing is, Darcy and Bingley's relatives aren't all that classy either. Bingley's sisters are extremely rude and his brother-in-law indolent and dull. Darcy's aunt, Lady Catherine De Bourgh, is self-absorbed, vain and demanding. Just as Mrs. Bennett is constantly saying things that betray her absurdity, so is Lady Catherine.

"There are few people in England, I suppose, who have more true enjoyment of music than myself, or a better natural taste. If I had ever learnt, I should have been a great proficient."

"...and though Mrs. Collins has no instrument, she is very welcome, as I have often told her, to come to Rosings every day, and play on the piano forte in Mrs. Jenkinson's room. She would be in nobody's way, you know, in that part of the house.''

As I said in my introduction, it is truly the characters that, in my opinion, really distinguish Pride and Prejudice from Austens other works. They are so complete, their actions so believable, and their dialogue so revealing, that they can sometimes seem more real than the characters in the other works. It is also a fine example of Austen's writing style at its best, combining the sharp wit of Northanger Abbey with the subtle ironies of Emma. It well deserves its place near the top of many reader's lists (including mine). I can't say enough about it. If you never read any other Austen novel, you must read this one. I'll leave you with a quote from Sir Walter Scott's private journal on his opinion of this novel.

"Also read again and for the third time at least Miss Austen's very finely written novel of Pride and Prejudice. That young lady had a talent for describing the involvement and feelings and characters of ordinary life which is to me the most wonderful I ever met with. The Big Bow-wow strain I can do myself like any now going, but the exquisite touch which renders ordinary commonplace things and characters interesting from the truth of the description and the sentiment is denied to me. What a pity such a gifted creature died so early!"

The Movie:

Pride and Prejudice has been adapted for the screen so many times that it isn't even funny. It has even been adapted into a Bollywood production called Bride and Prejudice. But there are four main adaptations that claim the hearts of many fans.

First, there is the 1940 adaptation starring Greer Garson and Laurence Olivier. I've never seen it, but I do know that the time period was pushed forward to allow for more flamboyant dresses. Not sure how I feel about that.

Then there is the 1980 adaptation starring Elizabeth Garvie and David Rintoul. I haven't seen this one either, but I would imagine it to be like the other Austen adaptations of the period.

Finally, there are the 1995 and 2005 adaptations starring Jennifer Ehle/Colin Firth and Keira Knightly/Matthew Macfadyen respectively. They are both wonderful in their own way. For my review of them, see here.

The Complete (and Unabridged) Jane Austen: Persuasion

"She had been forced into prudence in her youth; she learned romance as she grew older: the natural sequel of an unnatural beginning."

In her final complete novel, Jane Austen takes a different tone with her writing. Focusing on the constancy and endurance of a mature love rather than the hopes and joys of youth, Persuasion is perhaps Austen's most romantic work. But as with all of her works, Austen also manages to penetrate the standards of the British class system and to firmly establish her belief that rank and wealth do not determine the goodness of a person.

The Plot:

Eight years before the novel begins, Anne Elliot became engaged to the handsome and ambitious Capt. Frederick Wentworth. But because of his lack of fortune and uncertain connections, Anne was persuaded to break off the engagement by her friend and mentor, Lady Russell, and Capt. Wentworth returned to sea to escape his heartache. As the novel opens, we find Anne an old maid at 27. She has "lost her bloom" and is living at home as the overlooked middle child of Sir Walter Elliot, a man consumed with his looks and his title. Sir Walter's expensive tastes force him to lease his estate and remove his family to Bath. Anne remains behind for awhile at Uppercross Hall with her married younger sister Mary and her family.

Capt. Wentworth enters Anne's life again when his sister and brother-in-law (Admiral and Mrs. Croft) lease the Elliot estate. He is now exceedingly rich due to his success in the Napoleonic Wars and, like many Navy men, is looking to settle down. His cool treatment of Anne makes it very obvious that he still resents her, and he begins to pay more and more attention to Mary's young and impetuous sister-in-law, Louisa Musgrove. When tragedy strikes, Capt. Wentworth is reminded of Anne's strength and character, and Anne discovers that she is not the only one whose love has remained constant.

My Review (Caution-Spoilers):

Persuasion stands out from the rest of Austen's for many reasons. At 27, Anne Elliot is the oldest of the Austen heroines and the only one to be considered an old maid. Anne's maturity is reflected in the overall tone of the novel, which is "autumn-like" as opposed to the "summer-like" tones of her other novels. This is seen again in the writing style of the novel, for though it still has the wit and irony of all of Austen's works, it is softer and less polished than the others.

The main question that Austen seeks to answer in this novel is "Is persuasion good or bad?", or should one be easily persuaded or not? As with Sense and Sensibility, the answer lies somewhere in the middle. Anne was persuaded to give up her engagement not only by Lady Russell's advice, but by the fear of the uncertainty of Capt. Wentworth's future as well. Anne soon realizes her mistake: "She was persuaded that under every disadvantage of disapprobation at home,and every anxiety attending his profession, all their probable fears, delays, and disappointments, she should yet have been a happier woman in maintaining the engagement, than she had been in the sacrifice of it...". By the end of the novel, Anne has learned to trust in her own good sense as well as the power of a constant love. After the end of his engagement, Capt. Wentworth began to hate what he saw as Anne's lack of conviction. This leads to his admiration of Louisa Musgrove, whose firm resolve and determination make her the polar opposite of Anne in his eyes. But after Louisa's accident on the Cobb at Lyme (caused solely by her own willfulness), Capt. Wentworth sees the foolishness of this kind of thinking.

"'Don't talk of it, don't talk of it," he cried. "Oh God! that I had not given way to her at the fatal moment! Had I done as I ought! But so eager and so resolute! Dear, sweet Louisa!'" Anne wondered whether it ever occurred to him now, to question the justness of his own previous opinion as to the universal felicity and advantage of firmness of character; and whether it might not strike him that, like all other qualities of the mind, it should have its proportions and limits. She thought it could scarcely escape him to feel that a persuadable temper might sometimes be as much in favour of happiness as a very resolute character."

Another other issue that Austen tackles is the use of rank to determine people's worth in society. The two different ways of thinking are found in this exchange between Anne and her cousin (and admirer) William Elliot:

"My idea of good company, Mr Elliot, is the company of clever, well-informed people, who have a great deal of conversation; that is what I call good company." "You are mistaken," said he gently, "that is not good company; that is the best. Good company requires only birth, education, and manners, and with regard to education is not very nice. Birth and good manners are essential; but a little learning is by no means a dangerous thing in good company; on the contrary, it will do very well."

Anne's opinion is, of course, Austen's opinion. Though the British class system of the time would have made Sir Walter Elliot of more consequence than Admiral and Mrs. Croft, it is obvious whose character is the best:

"Vanity was the beginning and the end of Sir Walter Elliot's character; vanity of person and of situation. He had been remarkably handsome in his youth; and, at fifty-four, was still a very fine man. Few women could think more of their personal appearance than he did, nor could the valet of any new made lord be more delighted with the place he held in society. He considered the blessing of beauty as inferior only to the blessing of a baronetcy; and the Sir Walter Elliot, who united these gifts, was the constant object of his warmest respect and devotion."

"This meeting of the two parties proved highly satisfactory, and decided the whole business at once. Each lady was previously well disposed for an agreement, and saw nothing, therefore, but good manners in the other; and with regard to the gentlemen, there was such an hearty good humour, such an open, trusting liberality on the Admiral's side, as could not but influence Sir Walter, who had besides been flattered into his very best and most polished behaviour by Mr Shepherd's assurances of his being known, by report,to the Admiral, as a model
of good breeding."

Austen also tries to denounce the idea of women as helpless, finicky creatures as they were so commonly portrayed in the literature of the time.

"But I hate to hear you talking so like a fine gentleman,and as if women were all fine ladies, instead of rational creatures. We none of us expect to be in smooth water all our days."

"'If I had such a memory as Benwick, I could bring you fifty quotations in a moment on my side the argument, and I do not think I ever opened a book in my life which had not something to say upon woman's inconstancy. Songs and proverbs, all talk of woman's fickleness. But perhaps you will say, these were all written by men." "'Perhaps I shall. Yes, yes, if you please, no reference to examples in books. Men have had every advantage of us in telling their own story. Education has been theirs in so much higher a degree; the pen has been in their hands. I will not allow books to prove anything.'"

And finally, as I said before, the mature love portrayed in Persuasion makes it, in my opinion, the most romantic of the Austen novels. The steadfast devotion of the Crofts (who are my favorite of all of Austen's married couples) is so heartwarming and inspires some of the best passages in the novel:

"The only time I ever really suffered in body or mind, the only time that I ever fancied myself unwell, or had any ideas of danger, was the winter that I passed by myself at Deal, when the Admiral (Captain Croft then) was in the North Seas. I lived in perpetual fright at that time, and had all manner of imaginary complaints from not knowing what to do with myself,or when I should hear from him next; but as long as we could be together, nothing ever ailed me, and I never met with the smallest inconvenience."

The letter writing scene in Chapter 23 is also wonderful. You can just feel the tension in the room when Anne says to Capt. Harville "All the privilege I claim for my own sex (it is not a very enviable one;you need not covet it), is that of loving longest, when existence or when hope is gone.".

Persuasion is definitely the most emotional of Austen's works. Its maturity, romance and insight all make it an absolutely wonderful read, and if there were no Pride and Prejudice, this would be my favorite Austen novel by far. I'll leave you now with what is perhaps the most romantic letter/proposal in all of English literature, written by Capt. Frederick Wentworth.

I can listen no longer in silence. I must speak to you by such means as are within my reach. You pierce my soul. I am half agony, half hope. Tell me not that I am too late, that such precious feelings are gone for ever. I offer myself to you again with a heart even more your own than when you almost broke it, eight years and a half ago. Dare not say that man forgets sooner than woman, that his love has an earlier death. I have loved none but you. Unjust I may have been, weak and resentful I have been,but never inconstant. You alone have brought me to Bath. For you alone, I think and plan. Have you not seen this? Can you fail to have understood my wishes? I had not waited even these ten days, could I have read your feelings, as I think you must have penetrated mine. I can hardly write. I am every instant hearing something which overpowers me. You sink your voice, but I can distinguish the tones of that voice when they would be lost on others. Too good, too excellent creature! You do us justice, indeed. You do believe that there is true attachment and constancy among men. Believe it to be most fervent, most undeviating, in

F. W.

I must go, uncertain of my fate; but I shall return hither, or follow your party, as soon as possible. A word, a look, will be enough to decide whether I enter your father's house this evening or never."

The Movie:

Two early versions of Persuasion were done in 1960 and 1971. No opinion to give.

In 1995, it was released in theaters starring Amanda Root and Ciaran Hinds. This is a wonderful adaptation that catches the true spirit of the novel. In my opinion, this definitely ranks as one of the best Austen adaptations out there. A must see!!

Finally, there was the recent Masterpiece production which I have reviewed here. Though it was VERY pleasing to the eye (**cough**rupertpenry-jonesascaptainwentworth**cough**), it was just too rushed to be a good adaptation. As I said in my review, the acting was good but the script was atrocious. Don't bother.

The Complete (and Unabridged) Jane Austen: Sense and Sensibility

“’At my time of life opinions are tolerably fixed. It is not likely that I should now see or hear anything to change them.’”

In her first published novel, Jane Austen presents us with two very different sisters who are treading very different paths towards love and marriage. One is guided by her sense and propriety, the other by her emotions. So which path leads to happiness? As always, the answer lies somewhere in the middle, and in order to find it, the sisters discover that some of their fast-held opinions and ideas must be traded in for truth.

The Plot:

Elinor and Marianne Dashwood are the two eldest daughters of Mr. Dashwood by his second wife. Upon their father's death, the family estate passes to their elder half-brother John, and the girls, along with their mother and their younger sister Margaret, are left in reduced circumstances until a distant relative offers them a small cottage in Devonshire. Though Elinor is devastated to leave behind her budding relationship with her sister-in-law's brother, Edward Ferras, she soon takes charge of the situation and handles the move with grace.

The Dashwoods soon find themselves almost constantly in the company of their cousin, Sir John Middleton, his wife and children, his mother-in-law, Mrs. Jennings, and his longtime friend Col. Brandon. Passionate Marianne is rather bored with the company until the arrival of a new neighbor, John Willoughby. As Elinor quietly hopes for a reunion with Edward, Marianne and Willoughby grow closer and closer and family and neighbors begin to suspect an engagement. Then, two startling revelations come to light, threatening to separate the Dashwood girls from the ones they love. As the novel reaches its climax, true natures are revealed and happiness is found for both of the sisters in very unexpected ways.

My Review (Caution-Spoilers):

Sense and Sensibility holds a very special place in my heart because it was the first Austen novel that I read. It is probably the most subtle of Austen's works, and many readers often feel that the ending is somewhat unsatisfactory. I am always seeing comments by readers who doubt whether Marianne was ever able to really love Col. Brandon after having so passionately loved Willoughby. Basically, they want to know "Did Marianne settle?". This is a rather interesting question, because if Marianne did "settle" for Col. Brandon, she would be the only Austen heroine who didn't get the man that she really wanted and/or needed. Fortunately, the novel does answer this question, and with a little digging, we can find a satisfactory ending.

First, we must look at what was happening in the world that influenced Austen's entire theme for this book. At the meeting of the 18th and 19th centuries, two intellectual movements were beginning to war. On the one hand there were the remnants of the Age of Enlightenment that had been the main intellectual movement of the 18th century and had maintained that reason was the primary source of authority. Then, in the late 18th century, a new movement began that would try to counteract the "Enlightenment" period by stressing strong emotion and nature: Romanticism. Though it would not really gain steam until the Industrial Revolution, Romanticism was already having a profound effect on the culture in Western Europe, as seen especially in the works of Lord Byron. Austen uses the Dashwood sisters as embodiments of these two intellectual thoughts with Elinor representing "reason" and Marianne representing "romanticism", and asks the question "Which movement is right?". Austen's answer is that neither thought is entirely connected to reality.

Let's take "reason" (Elinor) as a first example. Though this is certainly the thought that Austen seems to lean towards, it is not perfect and neither is Elinor. Elinor is very practical and kind and is always placing the needs of others above her own. That is one of the main reasons that she strives so fervently to hide her own feelings, especially when she thinks that her showing them might hurt someone else. This presents a problem in two areas. The first is in her relationship with Edward. Edward never reveals his previous engagement to Elinor because he does not think that she cares for him like he does her. "I was simple enough to think, that because my faith was plighted to another, there could be no danger in my being with you; and that the consciousness of my engagement was to keep my heart as safe and sacred as my honour. I felt that I admired you, but I told myself it was only friendship; and till I began to make comparisons between yourself and Lucy, I did not know how far I was got. After that, I suppose, I was wrong in remaining so much in Sussex; and the arguments with which I reconciled myself to the expediency of it were no better than these:- The danger is my own; I am doing no injury to anybody but myself." If Elinor had only shown a little of her feeling towards Edward, he might have told her of his engagement (or at least distanced himself from her) and thereby saved her the heartache of dealing with Lucy Steele directly. The other area where Elinor's lack of openness causes a problem is with Marianne. Marianne will not open up to Elinor about her relationship with Willoughby because Elinor would not be open with her. "You have no confidence in me, Marianne." "Nay, Elinor this reproach from you- you who have confidence in no one!" "Me!" returned Elinor, in some confusion; "indeed, Marianne, I have nothing to tell." "Nor I," answered Marianne with energy; "our situations then are alike. We have neither of us any thing to tell; you, because you communicate, and I, because I conceal nothing." So, though Elinor's good reason is certainly an asset, her not showing emotion causes her much heartache.

Marianne, of course, is the complete opposite of Elinor. She lets her feelings be known, even to the point of impropriety at times. She also "...requires so much..." of the man that she will love. "I could not be happy with a man whose taste did not in every point coincide with my own. He must enter into all my feelings; the same books, the same music must charm us both. . . ." Her outlook on life is a pure product of the Romanticism movement, and she does not see love and happiness in any other form than overwhelming passion. And that is what she finds in Willoughby, or so she thought. But here again we have the one thing that separates the Austen heroes from the Austen villains: CHARACTER. Willoughby is dashing and passionate, but he is also a complete cad who trades life with Marianne for money. Col. Brandon is not really a romantic character (no matter what the films try to make him), but he is a man of sound principle who loves Marianne deeply. Basically, Willoughby is an illusion while Col. Brandon is solid truth. Through her heartache, Marianne learns that happiness is not always found in passion, but most often in quiet devotion. "It has not made him happy. His circumstances are now unembarrassed--he suffers from no evil of that kind; and he thinks only that he has married a woman of a less amiable temper than yourself. But does it follow that had he married you, he would have been happy?--The inconveniences would have been different." As Elinor matured and learned to open herself to others, so Marianne matured and learned to recognize what true love is and what it isn't.

"Marianne Dashwood was born to an extraordinary fate. She was born to discover the falsehood of her own opinions, and to counteract by her conduct her most favorite maxims. She was born to overcome an affection formed so late in life as at seventeen, and with no sentiment superior to strong esteem and lively friendship, voluntarily to give her hand to another--and that other, a man who had suffered no less than herself under the event of a former attachment, whom, two years before, she had considered too old to be married, and who still sought the constitutional safeguard of a flannel waistcoat!"

In the end, we can see that Marianne didn't settle for second best, just as Elizabeth Bennett didn't "settle" for Mr. Darcy just because Mr. Whickham had more pleasing manners. In all of her novels, Jane Austen stresses the importance of character when judging a person, not their rank, wealth or manners. And we all know that when it comes to character, Col. Brandon has it in spades!

The Movie:

There are 2 older versions of Sense and Sensibility, one done in 1971 and one done in 1981. I haven't seen either of these adaptations, so I have no opinion to give.

Then we have the absolutely wonderful 1995 version starring Emma Thompson, Kate Winslet, Greg Wise, Hugh Grant and the great Alan Rickman. Though there are a few problems with this adaptation (mainly Thompson's age when playing Elinor), it is still one of the best Austen adaptations out there. A definite must see!!

And then we have the recent Masterpiece adaptation starring Hattie Morihan and Charity Wakefield. Though it doesn't quite knock the '95 version off the top, it is still a very good adaptation (even if Andrew Davies did steal a few things from Thompson's version). See my review here.