finished_summaries/novelguide/Sense and Sensibility/section_1_part_11.txt
Sense and Sensibility.chapter xi
chapter xi
{"name": "Chapter XI", "url": "https://web.archive.org/web/20201020004256/https://www.novelguide.com/sense-and-sensibility/summaries/volume1-chapter1-11", "summary": "Sir John Middleton begins to hold balls at Barton Park. Willoughby and Marianne are always invited. They are completely absorbed in each other. Elinor tries to persuade Marianne to behave with more reserve, but without success. Marianne devotes herself to Willoughby and is no longer homesick for Norland. Elinor misses Norland because Edward is there. She forms a friendship with Colonel Brandon. Colonel Brandon talks with her about Marianne's not believing in second attachments. Elinor explains that Marianne has the romantic notion that second attachments are unpardonable, in spite of the fact that their own father had two wives and Marianne is the child of the second. Colonel Brandon does not wish to see Marianne outgrow her romantic prejudices. He says that she reminds him of a lady he used to know, who sadly was forced into a better acquaintance with the ways of the world. He breaks off his story abruptly. Elinor guesses that he was in love with this woman and that the affair ended badly.", "analysis": "Analysis of Chapters I-XI. The theme of \"sense\"  versus \"sensibility\"  is introduced in the characters of Elinor and Marianne. Each is a foil, or contrast, to the other. Elinor is sensible, practical, and cautious , while Marianne is romantic and impetuous. The dividing line, however, is not absolute, and the sisters do have qualities in common: both have loving hearts and intelligence. But their ways of responding to the world, to other people, and to the trials and tribulations of their lives, are different. Both Marianne  and her mother , being full of \"sensibility,\" are incapable of feeling any close attachment to a person without declaring it to be love. Marianne accuses Elinor of being cold-hearted because Elinor talks of liking and esteeming Edward. But in fact, Elinor, in keeping her feelings reserved until she is sure that Edward returns them, is showing a prudence  that her mother and sister lack. Marianne's lack of prudence and care for herself is symbolized by her venturing out in uncertain weather and taking a \"false step\" that makes her fall over. She is rescued by Willoughby. While on one hand his actions are admirable and appear heroic to Marianne, they can also be seen as taking advantage of a young girl's vulnerability at a moment of weakness. This is exactly what he proceeds to do on an emotional level in future chapters. He selfishly pursues the attraction he feels for Marianne without taking due care of her feelings. Marianne, lacking her sister's practicality in relationships, takes no care to find out what Willoughby's intentions are or whether he is free to marry her. She simply trusts to her heart's promptings and openly returns Willoughby's apparent affection. Marianne and Elinor respond to emotional stress very differently. After the family's move to Barton Cottage, Marianne expects Elinor to sink into dejection because she is missing Edward, and she also expects Edward to visit Elinor at Barton soon after the family's arrival there. On both accounts she is disappointed, because Elinor and Edward are more cautious with their feelings than is Marianne. Elinor does not yet know Edward's true feelings for her, and Edward holds back from making any declaration. Elinor and Edward are careful of their own hearts as well as of other people's, in a way that Marianne is not. A contrast is drawn between Marianne's two admirers, Colonel Brandon and Willoughby. While Colonel Brandon treats everyone with respect, Willoughby speaks slightingly of Colonel Brandon, apparently with a desire to amuse. While Colonel Brandon keeps his feelings for Marianne largely hidden, Willoughby admires her as openly as she admires him. At this point, Willoughby appears to resemble Marianne in being a person of \"sensibility,\" sharing her strong passions and opinions about music, literature, and people. It remains to be seen whether he shares Marianne's loving and constant heart. This is a source of suspense in the novel and reflects a common theme in Austen's work: the epistemological question of how one person can know another. What is certain at this point in the novel is that Willoughby perfectly fulfils Marianne's fantasy of her ideal husband. She says in Chapter III, \"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. Willoughby is this man, and her enchantment with him makes her overlook the more solid qualities of Colonel Brandon, whom she characterizes as old and lacking in \"spirit\" and \"fire\". One of the major themes of the novel, primogeniture and inheritance, is introduced from the novel's beginning. Primogeniture is the tradition by which the first-born offspring inherits the entire estate of a parent. In practice, this is usually male-line primogeniture; hence, if the offspring of a marriage are all daughters, then the estate passes to the nearest male relative. The novel reflects the extreme importance of primogeniture in the society of Austen's time. It defined a person's life, prospects, and choice of marriage partner. The Dashwood women are reduced to genteel poverty simply because they are female. After Henry Dashwood's death, through the whim of \"the old Gentleman\" backed up by male-line primogeniture, Norland Park goes to Henry's son John. This is in spite of the fact that John does not need more wealth and yet the Dashwood women are in severe need after the death of their father. The Dashwood women are reliant on the charity of John, which is not forthcoming because of the meanness of John's wife Fanny. Their next hope, and the only way out of their predicament, is that the Dashwood daughters will make a good marriage. Primogeniture also plays a large part in the fortunes of Edward Ferrars, who at the novel's beginning is the eldest son of a rich man, and therefore a good marriage prospect. Old Mr. Ferrars left all his wealth to his wife, and Mrs. Ferrars can choose where it goes after her. Old Mr. Ferrars was evidently not influenced by the tradition of male-line primogeniture that afflicted the old Gentleman. Although primogeniture can be liberating in that it can set a man up in wealth for the rest of his life, it can also be tyrannical and restrictive. Edward Ferrars cannot marry whom he chooses; if he displeases his mother through his choice of wife, he risks being disinherited. When Mrs. Ferrars finds out that Edward is engaged to the penniless Lucy Steele, she does indeed disinherit him. This, in principle, liberates Edward to marry whom he wishes, though in practice, it would not be possible for him to marry anyone because he could not afford to support them. Edward is only rescued by his fortunate association with his wealthy benefactor, Colonel Brandon, who gives him a living. A deliberate contrast is drawn between two parallel sets of benefactor/beneficiary relationships: Willoughby and his elderly female relative Mrs. Smith, and Edward and Mrs. Ferrars. But there is an important difference. While Mrs. Ferrars disinherits Edward from avaricious motives, Willoughby's elderly relative later disinherits Willoughby on moral grounds, because she disapproves of his irresponsible liaison with Colonel Brandon's daughter. Whereas Edward is liberated from the influence of a malign mother, Willoughby deserts the influence of a benign and morally upright woman. Austen appears to be suggesting that the leverage of inheritance can be used for good or evil ends, and that losing an inheritance can be spiritually liberating  or spiritually tragic. Another theme of the novel is familial duty. Austen shows that relatedness does not necessarily equate with familial duty. Though it is clear that John Dashwood has a moral duty to look after his stepmother and half-sisters after the death of his father, he is easily persuaded by his selfish wife that he has no duty at all to them. As it transpires, a distant relative, Sir John Middleton, is far more generous to the women than is John Dashwood. The gap between the expectation of how a character should act from the moral point of view and how they do act is typical of Austen's irony. The irony is underscored by the narrator's tongue-in-cheek summary of John's intentions at the end of Chapter II: \"he finally resolved, that it would be absolutely unnecessary, if not highly indecorous, to do more for the widow and children of his father, than such kind of neighbourly acts as his own wife pointed out. So warped has John's moral perspective become as a result of his wife's influence, that he is able to conclude that it would be wrong to help the Dashwood women at all. The symbolism of hunting, which pervades the novel, is introduced in this section. The reader's first sight of Willoughby as he appears just in time to rescue Marianne is as he is out shooting game with his dogs. Just as Willoughby hunts animals, he also hunts Marianne; while he does not kill her, he does do great harm to her emotional well-being. In hunting as in love, Willoughby is a predator"}


Little had Mrs. Dashwood or her daughters imagined when they first came
into Devonshire, that so many engagements would arise to occupy their
time as shortly presented themselves, or that they should have such
frequent invitations and such constant visitors as to leave them little
leisure for serious employment.  Yet such was the case.  When Marianne
was recovered, the schemes of amusement at home and abroad, which Sir
John had been previously forming, were put into execution.  The private
balls at the park then began; and parties on the water were made and
accomplished as often as a showery October would allow.  In every
meeting of the kind Willoughby was included; and the ease and
familiarity which naturally attended these parties were exactly
calculated to give increasing intimacy to his acquaintance with the
Dashwoods, to afford him opportunity of witnessing the excellencies of
Marianne, of marking his animated admiration of her, and of receiving,
in her behaviour to himself, the most pointed assurance of her
affection.

Elinor could not be surprised at their attachment.  She only wished
that it were less openly shewn; and once or twice did venture to
suggest the propriety of some self-command to Marianne.  But Marianne
abhorred all concealment where no real disgrace could attend unreserve;
and to aim at the restraint of sentiments which were not in themselves
illaudable, appeared to her not merely an unnecessary effort, but a
disgraceful subjection of reason to common-place and mistaken notions.
Willoughby thought the same; and their behaviour at all times, was an
illustration of their opinions.

When he was present she had no eyes for any one else.  Every thing he
did, was right.  Every thing he said, was clever.  If their evenings at
the park were concluded with cards, he cheated himself and all the rest
of the party to get her a good hand.  If dancing formed the amusement
of the night, they were partners for half the time; and when obliged to
separate for a couple of dances, were careful to stand together and
scarcely spoke a word to any body else.  Such conduct made them of
course most exceedingly laughed at; but ridicule could not shame, and
seemed hardly to provoke them.

Mrs. Dashwood entered into all their feelings with a warmth which left
her no inclination for checking this excessive display of them.  To her
it was but the natural consequence of a strong affection in a young and
ardent mind.

This was the season of happiness to Marianne.  Her heart was devoted to
Willoughby, and the fond attachment to Norland, which she brought with
her from Sussex, was more likely to be softened than she had thought it
possible before, by the charms which his society bestowed on her
present home.

Elinor's happiness was not so great.  Her heart was not so much at
ease, nor her satisfaction in their amusements so pure.  They afforded
her no companion that could make amends for what she had left behind,
nor that could teach her to think of Norland with less regret than
ever.  Neither Lady Middleton nor Mrs. Jennings could supply to her the
conversation she missed; although the latter was an everlasting talker,
and from the first had regarded her with a kindness which ensured her a
large share of her discourse.  She had already repeated her own history
to Elinor three or four times; and had Elinor's memory been equal to
her means of improvement, she might have known very early in their
acquaintance all the particulars of Mr. Jennings's last illness, and
what he said to his wife a few minutes before he died.  Lady Middleton
was more agreeable than her mother only in being more silent.  Elinor
needed little observation to perceive that her reserve was a mere
calmness of manner with which sense had nothing to do.  Towards her
husband and mother she was the same as to them; and intimacy was
therefore neither to be looked for nor desired.  She had nothing to say
one day that she had not said the day before.  Her insipidity was
invariable, for even her spirits were always the same; and though she
did not oppose the parties arranged by her husband, provided every
thing were conducted in style and her two eldest children attended her,
she never appeared to receive more enjoyment from them than she might
have experienced in sitting at home;--and so little did her presence
add to the pleasure of the others, by any share in their conversation,
that they were sometimes only reminded of her being amongst them by her
solicitude about her troublesome boys.

In Colonel Brandon alone, of all her new acquaintance, did Elinor find
a person who could in any degree claim the respect of abilities, excite
the interest of friendship, or give pleasure as a companion.
Willoughby was out of the question.  Her admiration and regard, even
her sisterly regard, was all his own; but he was a lover; his
attentions were wholly Marianne's, and a far less agreeable man might
have been more generally pleasing.  Colonel Brandon, unfortunately for
himself, had no such encouragement to think only of Marianne, and in
conversing with Elinor he found the greatest consolation for the
indifference of her sister.

Elinor's compassion for him increased, as she had reason to suspect
that the misery of disappointed love had already been known to him.
This suspicion was given by some words which accidentally dropped from
him one evening at the park, when they were sitting down together by
mutual consent, while the others were dancing.  His eyes were fixed on
Marianne, and, after a silence of some minutes, he said, with a faint
smile, "Your sister, I understand, does not approve of second
attachments."

"No," replied Elinor, "her opinions are all romantic."

"Or rather, as I believe, she considers them impossible to exist."

"I believe she does.  But how she contrives it without reflecting on
the character of her own father, who had himself two wives, I know not.
A few years however will settle her opinions on the reasonable basis of
common sense and observation; and then they may be more easy to define
and to justify than they now are, by any body but herself."

"This will probably be the case," he replied; "and yet there is
something so amiable in the prejudices of a young mind, that one is
sorry to see them give way to the reception of more general opinions."

"I cannot agree with you there," said Elinor.  "There are
inconveniences attending such feelings as Marianne's, which all the
charms of enthusiasm and ignorance of the world cannot atone for.  Her
systems have all the unfortunate tendency of setting propriety at
nought; and a better acquaintance with the world is what I look forward
to as her greatest possible advantage."

After a short pause he resumed the conversation by saying,--

"Does your sister make no distinction in her objections against a
second attachment? or is it equally criminal in every body?  Are those
who have been disappointed in their first choice, whether from the
inconstancy of its object, or the perverseness of circumstances, to be
equally indifferent during the rest of their lives?"

"Upon my word, I am not acquainted with the minutiae of her principles.
I only know that I never yet heard her admit any instance of a second
attachment's being pardonable."

"This," said he, "cannot hold; but a change, a total change of
sentiments--No, no, do not desire it; for when the romantic refinements
of a young mind are obliged to give way, how frequently are they
succeeded by such opinions as are but too common, and too dangerous!  I
speak from experience.  I once knew a lady who in temper and mind
greatly resembled your sister, who thought and judged like her, but who
from an inforced change--from a series of unfortunate circumstances"--
Here he stopt suddenly; appeared to think that he had said too much,
and by his countenance gave rise to conjectures, which might not
otherwise have entered Elinor's head.  The lady would probably have
passed without suspicion, had he not convinced Miss Dashwood that what
concerned her ought not to escape his lips.  As it was, it required but
a slight effort of fancy to connect his emotion with the tender
recollection of past regard.  Elinor attempted no more.  But Marianne,
in her place, would not have done so little.  The whole story would
have been speedily formed under her active imagination; and every thing
established in the most melancholy order of disastrous love.



Chapter XI
Sir John Middleton begins to hold balls at Barton Park. Willoughby and Marianne are always invited. They are completely absorbed in each other. Elinor tries to persuade Marianne to behave with more reserve, but without success. Marianne devotes herself to Willoughby and is no longer homesick for Norland. Elinor misses Norland because Edward is there. She forms a friendship with Colonel Brandon. Colonel Brandon talks with her about Marianne's not believing in second attachments. Elinor explains that Marianne has the romantic notion that second attachments are unpardonable, in spite of the fact that their own father had two wives and Marianne is the child of the second. Colonel Brandon does not wish to see Marianne outgrow her romantic prejudices. He says that she reminds him of a lady he used to know, who sadly was forced into a better acquaintance with the ways of the world. He breaks off his story abruptly. Elinor guesses that he was in love with this woman and that the affair ended badly.
Analysis of Chapters I-XI. The theme of "sense"  versus "sensibility"  is introduced in the characters of Elinor and Marianne. Each is a foil, or contrast, to the other. Elinor is sensible, practical, and cautious , while Marianne is romantic and impetuous. The dividing line, however, is not absolute, and the sisters do have qualities in common: both have loving hearts and intelligence. But their ways of responding to the world, to other people, and to the trials and tribulations of their lives, are different. Both Marianne  and her mother , being full of "sensibility," are incapable of feeling any close attachment to a person without declaring it to be love. Marianne accuses Elinor of being cold-hearted because Elinor talks of liking and esteeming Edward. But in fact, Elinor, in keeping her feelings reserved until she is sure that Edward returns them, is showing a prudence  that her mother and sister lack. Marianne's lack of prudence and care for herself is symbolized by her venturing out in uncertain weather and taking a "false step" that makes her fall over. She is rescued by Willoughby. While on one hand his actions are admirable and appear heroic to Marianne, they can also be seen as taking advantage of a young girl's vulnerability at a moment of weakness. This is exactly what he proceeds to do on an emotional level in future chapters. He selfishly pursues the attraction he feels for Marianne without taking due care of her feelings. Marianne, lacking her sister's practicality in relationships, takes no care to find out what Willoughby's intentions are or whether he is free to marry her. She simply trusts to her heart's promptings and openly returns Willoughby's apparent affection. Marianne and Elinor respond to emotional stress very differently. After the family's move to Barton Cottage, Marianne expects Elinor to sink into dejection because she is missing Edward, and she also expects Edward to visit Elinor at Barton soon after the family's arrival there. On both accounts she is disappointed, because Elinor and Edward are more cautious with their feelings than is Marianne. Elinor does not yet know Edward's true feelings for her, and Edward holds back from making any declaration. Elinor and Edward are careful of their own hearts as well as of other people's, in a way that Marianne is not. A contrast is drawn between Marianne's two admirers, Colonel Brandon and Willoughby. While Colonel Brandon treats everyone with respect, Willoughby speaks slightingly of Colonel Brandon, apparently with a desire to amuse. While Colonel Brandon keeps his feelings for Marianne largely hidden, Willoughby admires her as openly as she admires him. At this point, Willoughby appears to resemble Marianne in being a person of "sensibility," sharing her strong passions and opinions about music, literature, and people. It remains to be seen whether he shares Marianne's loving and constant heart. This is a source of suspense in the novel and reflects a common theme in Austen's work: the epistemological question of how one person can know another. What is certain at this point in the novel is that Willoughby perfectly fulfils Marianne's fantasy of her ideal husband. She says in Chapter III, "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. Willoughby is this man, and her enchantment with him makes her overlook the more solid qualities of Colonel Brandon, whom she characterizes as old and lacking in "spirit" and "fire". One of the major themes of the novel, primogeniture and inheritance, is introduced from the novel's beginning. Primogeniture is the tradition by which the first-born offspring inherits the entire estate of a parent. In practice, this is usually male-line primogeniture; hence, if the offspring of a marriage are all daughters, then the estate passes to the nearest male relative. The novel reflects the extreme importance of primogeniture in the society of Austen's time. It defined a person's life, prospects, and choice of marriage partner. The Dashwood women are reduced to genteel poverty simply because they are female. After Henry Dashwood's death, through the whim of "the old Gentleman" backed up by male-line primogeniture, Norland Park goes to Henry's son John. This is in spite of the fact that John does not need more wealth and yet the Dashwood women are in severe need after the death of their father. The Dashwood women are reliant on the charity of John, which is not forthcoming because of the meanness of John's wife Fanny. Their next hope, and the only way out of their predicament, is that the Dashwood daughters will make a good marriage. Primogeniture also plays a large part in the fortunes of Edward Ferrars, who at the novel's beginning is the eldest son of a rich man, and therefore a good marriage prospect. Old Mr. Ferrars left all his wealth to his wife, and Mrs. Ferrars can choose where it goes after her. Old Mr. Ferrars was evidently not influenced by the tradition of male-line primogeniture that afflicted the old Gentleman. Although primogeniture can be liberating in that it can set a man up in wealth for the rest of his life, it can also be tyrannical and restrictive. Edward Ferrars cannot marry whom he chooses; if he displeases his mother through his choice of wife, he risks being disinherited. When Mrs. Ferrars finds out that Edward is engaged to the penniless Lucy Steele, she does indeed disinherit him. This, in principle, liberates Edward to marry whom he wishes, though in practice, it would not be possible for him to marry anyone because he could not afford to support them. Edward is only rescued by his fortunate association with his wealthy benefactor, Colonel Brandon, who gives him a living. A deliberate contrast is drawn between two parallel sets of benefactor/beneficiary relationships: Willoughby and his elderly female relative Mrs. Smith, and Edward and Mrs. Ferrars. But there is an important difference. While Mrs. Ferrars disinherits Edward from avaricious motives, Willoughby's elderly relative later disinherits Willoughby on moral grounds, because she disapproves of his irresponsible liaison with Colonel Brandon's daughter. Whereas Edward is liberated from the influence of a malign mother, Willoughby deserts the influence of a benign and morally upright woman. Austen appears to be suggesting that the leverage of inheritance can be used for good or evil ends, and that losing an inheritance can be spiritually liberating  or spiritually tragic. Another theme of the novel is familial duty. Austen shows that relatedness does not necessarily equate with familial duty. Though it is clear that John Dashwood has a moral duty to look after his stepmother and half-sisters after the death of his father, he is easily persuaded by his selfish wife that he has no duty at all to them. As it transpires, a distant relative, Sir John Middleton, is far more generous to the women than is John Dashwood. The gap between the expectation of how a character should act from the moral point of view and how they do act is typical of Austen's irony. The irony is underscored by the narrator's tongue-in-cheek summary of John's intentions at the end of Chapter II: "he finally resolved, that it would be absolutely unnecessary, if not highly indecorous, to do more for the widow and children of his father, than such kind of neighbourly acts as his own wife pointed out. So warped has John's moral perspective become as a result of his wife's influence, that he is able to conclude that it would be wrong to help the Dashwood women at all. The symbolism of hunting, which pervades the novel, is introduced in this section. The reader's first sight of Willoughby as he appears just in time to rescue Marianne is as he is out shooting game with his dogs. Just as Willoughby hunts animals, he also hunts Marianne; while he does not kill her, he does do great harm to her emotional well-being. In hunting as in love, Willoughby is a predator