Article #161-1 | Gutenberg Articles

Excerpt

Excerpt from Sense and Sensibility, by Jane Austen

What Edward had done to forfeit the right of eldest son, might have
puzzled many people to find out; and what Robert had done to succeed to
it, might have puzzled them still more. It was an arrangement, however,
justified in its effects, if not in its cause; for nothing ever
appeared in Robert’s style of living or of talking to give a suspicion
of his regretting the extent of his income, as either leaving his
brother too little, or bringing himself too much;—and if Edward might
be judged from the ready discharge of his duties in every particular,
from an increasing attachment to his wife and his home, and from the
regular cheerfulness of his spirits, he might be supposed no less
contented with his lot, no less free from every wish of an exchange.

Elinor’s marriage divided her as little from her family as could well
be contrived, without rendering the cottage at Barton entirely useless,
for her mother and sisters spent much more than half their time with
her. Mrs. Dashwood was acting on motives of policy as well as pleasure
in the frequency of her visits at Delaford; for her wish of bringing
Marianne and Colonel Brandon together was hardly less earnest, though
rather more liberal than what John had expressed. It was now her
darling object. Precious as was the company of her daughter to her, she
desired nothing so much as to give up its constant enjoyment to her
valued friend; and to see Marianne settled at the mansion-house was
equally the wish of Edward and Elinor. They each felt his sorrows, and
their own obligations, and Marianne, by general consent, was to be the
reward of all.

With such a confederacy against her—with a knowledge so intimate of his
goodness—with a conviction of his fond attachment to herself, which at
last, though long after it was observable to everybody else—burst on
her—what could she do?

Explanation

Detailed Explanation of the Excerpt from Sense and Sensibility

This passage comes from the conclusion of Sense and Sensibility (1811), Jane Austen’s first published novel. The novel follows the Dashwood sisters—Elinor (the embodiment of "sense") and Marianne (the embodiment of "sensibility")—as they navigate love, social expectations, and financial constraints after their father’s death leaves them financially dependent. The excerpt reflects the resolution of key conflicts, particularly regarding inheritance, marriage, and familial harmony, while reinforcing Austen’s themes of social propriety, personal growth, and the balance between reason and emotion.

Context of the Excerpt

By this point in the novel:

Edward Ferrars, the elder brother, was disinherited by his wealthy family for refusing to break his secret engagement to Lucy Steele (whom he later marries after Lucy jilts him for his brother, Robert). Despite his reduced circumstances, he remains honorable and content.
Robert Ferrars, the younger brother, inherits the family fortune instead, despite being frivolous and self-centered. His marriage to Lucy (who initially pursued Edward for his expected inheritance) is a match of convenience rather than affection.
Elinor Dashwood has married Edward, and they now live at Delaford Parsonage, a modest but comfortable home provided by Colonel Brandon.
Marianne, after her dramatic romantic disappointments (Willoughby’s betrayal), has gradually come to appreciate Colonel Brandon’s steadfast love—though she has not yet accepted him.
Mrs. Dashwood (the sisters’ mother) is eager to see Marianne marry Colonel Brandon, both for her happiness and to secure her future.

The passage ties up loose ends, showing how the characters’ fates align with Austen’s moral vision: virtue is rewarded, folly is exposed, and emotional excess is tempered by reason.

Breakdown of the Excerpt

1. The Ferrars Brothers: Inheritance and Contentment

"What Edward had done to forfeit the right of eldest son, might have puzzled many people to find out; and what Robert had done to succeed to it, might have puzzled them still more. It was an arrangement, however, justified in its effects, if not in its cause..."

Literary Device: Irony Austen employs dramatic irony—the reader knows that Edward was disinherited for refusing to break his engagement to Lucy Steele, while Robert, who is less principled, inherits the fortune. The situation is unfair in its cause (Edward’s integrity is punished, Robert’s opportunism rewarded) but justified in its effects because:
- Edward is content with his simpler life, proving that happiness does not depend on wealth.
- Robert shows no regret over his windfall, suggesting he is unworthy of sympathy—his lack of guilt implies he is morally shallow.
Theme: Money vs. Morality Austen critiques inheritance laws (which favored primogeniture) and social hypocrisy—wealth often goes to the least deserving. Yet, she also suggests that true happiness comes from integrity, not material success.

"...for nothing ever appeared in Robert’s style of living or of talking to give a suspicion of his regretting the extent of his income, as either leaving his brother too little, or bringing himself too much..."

Characterization of Robert Robert is self-satisfied and unreflective—he neither pities Edward’s reduced circumstances nor feels guilt over his own good fortune. His indifference marks him as morally inferior to Edward.

"...and if Edward might be judged from the ready discharge of his duties in every particular, from an increasing attachment to his wife and his home, and from the regular cheerfulness of his spirits, he might be supposed no less contented with his lot, no less free from every wish of an exchange."

Edward’s Contentment Unlike Robert, Edward is actively virtuous:
- "Ready discharge of his duties" → He is responsible and honorable.
- "Increasing attachment to his wife and his home" → His love for Elinor is genuine and deepening (unlike Robert’s marriage of convenience).
- "Regular cheerfulness" → His happiness is steady, not dependent on external circumstances.
Contrast with Romantic Ideals Marianne (and many Romantic-era readers) might expect grand passion or tragic suffering, but Austen shows that quiet, steady happiness is more durable.

2. Elinor’s Marriage and Familial Bonds

"Elinor’s marriage divided her as little from her family as could well be contrived, without rendering the cottage at Barton entirely useless, for her mother and sisters spent much more than half their time with her."

Theme: Family and Social Duty Elinor’s marriage does not isolate her from her family—unlike Marianne’s earlier self-absorbed grief over Willoughby. Instead, she maintains close ties, reflecting Austen’s ideal of balancing personal happiness with familial responsibility.
Practicality Over Sentiment The mention of the cottage at Barton not being "entirely useless" is a subtle joke—Mrs. Dashwood and the sisters frequent Elinor’s home so often that Barton is almost abandoned. This highlights:
- The Dashwoods’ emotional dependence on each other.
- The practicality of Elinor’s arrangement—she remains accessible to her family.

"Mrs. Dashwood was acting on motives of policy as well as pleasure in the frequency of her visits at Delaford; for her wish of bringing Marianne and Colonel Brandon together was hardly less earnest, though rather more liberal than what John had expressed."

Mrs. Dashwood’s Matchmaking
- "Policy as well as pleasure" → She enjoys visiting Elinor but also has a strategic goal: marrying Marianne to Colonel Brandon.
- "Hardly less earnest, though rather more liberal" → Unlike John Dashwood (the sisters’ half-brother, who is greedy and meddlesome), Mrs. Dashwood’s motives are kinder—she genuinely wants Marianne’s happiness.
Irony in "Liberal" The word "liberal" is ironic—Mrs. Dashwood is more generous than John, but she is still manipulative in her matchmaking, showing that even well-meaning interference can be controlling.

"It was now her darling object. Precious as was the company of her daughter to her, she desired nothing so much as to give up its constant enjoyment to her valued friend; and to see Marianne settled at the mansion-house was equally the wish of Edward and Elinor."

Marianne as a "Reward"
- The phrase "Marianne, by general consent, was to be the reward of all" is telling:
  - Colonel Brandon has suffered (his lost love, Eliza, was seduced by Willoughby; he has been a loyal but unrequited admirer of Marianne).
  - Edward and Elinor feel obliged to him for providing them with Delaford Parsonage.
  - Marianne’s marriage to Brandon is framed as compensation for past sorrows—but also as a logical, sensible match (unlike her earlier infatuation with Willoughby).
Shift in Marianne’s Role Earlier, Marianne was the passionate, rebellious sister; now, she is passively being "awarded" to Brandon. This reflects her growth—she has moved from romantic idealism to accepting a stable, respectable match.

3. Marianne’s Inevitable Surrender

"With such a confederacy against her—with a knowledge so intimate of his goodness—with a conviction of his fond attachment to herself, which at last, though long after it was observable to everybody else—burst on her—what could she do?"

"Confederacy Against Her"
- Elinor, Mrs. Dashwood, and Edward are all united in pushing Marianne toward Brandon.
- The word "confederacy" suggests a gentle conspiracy—they are not forcing her, but their collective influence makes resistance difficult.
Marianne’s Late Realization
- "Long after it was observable to everybody else" → Marianne’s emotional blindness is a running joke. While others saw Brandon’s love early, she only now acknowledges it.
- "Burst on her" → Her realization is sudden and overwhelming, contrasting with Elinor’s gradual, reasoned understanding of Edward’s feelings.
Rhetorical Question: "What could she do?"
- This is not a real question—it’s rhetorical, implying that Marianne has no choice but to accept Brandon.
- Austen suggests that true love is not just passion (as Marianne once believed) but recognition of worth and stability.

Key Themes in the Excerpt

Reason vs. Sensibility
- Elinor’s marriage is practical yet loving—she balances duty and affection.
- Marianne’s eventual match with Brandon shows her maturity—she moves from emotional excess to rational acceptance.
Social and Economic Realities
- Inheritance is arbitrary (Edward’s disinheritance is unjust, but he thrives anyway).
- Marriage is an economic transaction (Lucy marries for money; Marianne’s match secures her future).
Happiness Through Virtue
- Edward’s contentment proves that integrity brings peace, even without wealth.
- Robert’s indifference shows that material success without morality is hollow.
Familial Duty and Interference
- The Dashwoods remain closely knit, but their matchmaking (though well-meaning) raises questions about autonomy vs. social pressure.

Literary Devices

Device	Example	Effect
Irony	Robert inherits despite being unworthy; Edward is disinherited for being honorable.	Critiques social injustice while showing that virtue leads to true happiness.
Rhetorical Question	"What could she do?"	Emphasizes Marianne’s inevitable surrender to societal and familial expectations.
Contrast	Edward’s cheerfulness vs. Robert’s indifference.	Highlights the moral superiority of integrity over wealth.
Foreshadowing	The "confederacy" against Marianne.	Prepares the reader for her eventual marriage to Brandon.
Understatement	"Justified in its effects, if not in its cause."	Downplays the unfairness of inheritance while acknowledging its outcomes.

Significance of the Passage

Resolution of Key Conflicts
- The Ferrars inheritance dispute is settled, showing that money does not determine worth.
- Marianne’s romantic arc concludes with her acceptance of Brandon, marking her growth from sensibility to sense.
Austen’s Moral Vision
- Virtue is rewarded (Edward, Elinor, Brandon).
- Folly is exposed (Robert, Lucy, Willoughby).
- Emotional excess must be tempered by reason (Marianne’s journey).
Social Commentary
- Critiques primogeniture (inheritance laws favoring eldest sons).
- Shows how women’s marriages were economic necessities, but also how love could coexist with pragmatism.
Tone: Wry and Optimistic
- Austen’s ironic tone keeps the ending from being overly sentimental.
- The happy ending is earned—characters who learn and adapt (Elinor, Marianne, Edward) are rewarded.

Conclusion: Why This Excerpt Matters

This passage encapsulates Austen’s central concerns:

The tension between heart and head (sensibility vs. sense).
The role of money and social status in shaping lives.
The importance of personal integrity over external validation.

While the romantic resolutions satisfy conventional expectations, Austen subverts simple morality tales—happiness comes not from grand passion or wealth, but from self-awareness, duty, and quiet love. The excerpt’s subtle humor and psychological insight make it a microcosm of Austen’s genius, blending social critique with human warmth.

Questions

Question 1

The passage’s description of Robert Ferrars’ "style of living or of talking" serves primarily to:

A. underscore the moral vacuity of a character whose contentment is unearned and whose privilege is unexamined
B. illustrate the arbitrary nature of inheritance laws by highlighting Robert’s lack of remorse for his brother’s disinheritance
C. contrast Edward’s quiet dignity with Robert’s ostentatious display of wealth, reinforcing the novel’s critique of materialism
D. suggest that Robert’s indifference to his brother’s plight is a calculated strategy to avoid familial conflict
E. demonstrate how social norms reward superficial charm over genuine virtue, as Robert’s behavior is socially acceptable

Question 2

The phrase "by general consent, was to be the reward of all" most strongly implies that Marianne’s marriage to Colonel Brandon is framed as:

A. a transactional exchange where her hand is bartered to settle debts of gratitude
B. a poetic justice wherein her earlier suffering is redeemed by a union with a man of superior moral character
C. an inevitable concession to societal pressures, stripping her of agency in the decision
D. a communal act of reparation, where her union compensates for the collective sorrows of others while affirming her own growth
E. a pragmatic solution to financial instability, masking deeper emotional reservations under the guise of familial duty

Question 3

The narrative’s assertion that Marianne’s realization of Colonel Brandon’s attachment "burst on her—what could she do?" employs rhetorical structure to:

A. mock Marianne’s delayed emotional intelligence, positioning her as comically obtuse compared to those around her
B. frame her eventual acceptance as an illusion of choice, where the question’s phrasing exposes the inevitability imposed by social and familial forces
C. highlight the spontaneity of genuine affection, suggesting that love, when true, overcomes even the most stubborn resistance
D. underscore the irony of her situation, as the same passion that once blinded her to Brandon now compels her toward him
E. imply that her surrender is a performative act, designed to satisfy the expectations of Elinor and Mrs. Dashwood rather than reflect her true desires

Question 4

The passage’s treatment of Mrs. Dashwood’s "motives of policy as well as pleasure" in frequenting Delaford primarily serves to:

A. expose the hypocrisy of maternal love, where affection is secondary to strategic matchmaking
B. reveal the limitations of Elinor’s marriage, as her home becomes a stage for her mother’s manipulative schemes
C. complicate the notion of altruism, presenting Mrs. Dashwood’s actions as a blend of genuine care and self-interested meddling
D. critique the gendered expectations of the time, where women’s agency is confined to indirect influence over others’ romantic lives
E. foreshadow the failure of Marianne’s marriage, as its foundations lie in external pressure rather than mutual desire

Question 5

The passage’s closing rhetorical question—"what could she do?"—is most thematically resonant with which of the following ideas in Sense and Sensibility?

A. The tension between individual autonomy and the inescapable weight of social and familial obligation
B. The triumph of sensibility over sense, as Marianne’s emotional awakening dictates her final choice
C. The arbitrary nature of happiness, where contentment is less a product of circumstance than of subjective perception
D. The redemptive power of love, which transcends personal flaws and external constraints
E. The performative nature of marriage in Regency society, where unions are staged to uphold appearances rather than reflect genuine connection

Solutions and Explanations

1) Correct answer: A

Why A is most correct: The passage’s focus on Robert’s "style of living or of talking" is not merely about his lack of remorse (B) or a contrast with Edward’s dignity (C), but about his unearned contentment—his privilege is unexamined, and his satisfaction is hollow because it lacks moral foundation. The text emphasizes that Robert’s behavior gives "no suspicion of his regretting" his fortune, implying a void where self-awareness or guilt should be. This aligns with Austen’s critique of characters who benefit from systemic injustice without reflection.