To what extent is Chapter 1 of Sense and Sensibility a fitting introduction for the novel to come?

In this novel, Austen is displace out rules of conduct for women in a time when England was moving from a period a long constancy to sudden and total change. Unless deal knew how to behave, she thought, nuthouse would ensue. England was entering the Industrial Revolution, having just seen the cut Revolution and the American War of Independence. A new literary style was move the nation, wholeness to which Austen was much opposed Romanticism. A dichotomy had arisen from the popularity of Romanticism within the literary groups of the time.It is possible to label these two groups as Sense and Sensibility. (The Gothic style excessively came nigh at this time, championed by those who had suddenly sight freedom both literary and, in just about cases, physical with the f alone of oppressive governments surrounding England Austen in any case wrote anti-Gothic novels, like Northanger Abbey. ) Austen was definitely in obtain of Sense, which this novel shows so clearly. Austen argu es her case for intellect over sensitiveness by polarising the primary(prenominal) protagonists on the subject.Marianne represents sensibility in altogether its dramatic, baroque and over-the-top glory, whilst Elinor represents sense ( non cold, emotionless logic, precisely a tactful rationalness about situations). Although Austen shows the reader the downsides of both poles, sensibility is harshly and heavily punished and in the end sense wins out when Elinor gets to wed the man she wants and Marianne gives up sensibility and accepts an flimsy happy ending with a socially respectable result. Austen, then, is writing non a novel, but a book of doings for women in this tumultuous time, much in keeping with little girls conduct books of the time.The offset chapter so brilliantly allows for these developments later in the book by non mentioning them at all, or at least not until the closing split ups in which the reader is introduced to Elinor and Marianne. This freshma n chapter is primarily concerned in setting up Austens font in the book, that of sarcastic social commentator and moral guide. And this character is set up within the break paragraph. Austens behaviour as author in this chapter near contradicts Elinor later on.The way the blasphemous Dashwood family interact with each other on human terms is mocked and pulled apart by Austens scathing irony these first paragraphs could almost be in defence of sensibility Relationships be described in contractual terms no longish is your boy family, he is clientele no longer do you love, you esteem. Family isnt about affection, its about affectation. appearing and finance are all that look on the Norland estate, respectability and wealth. People are spoken of in terms of receipts and actions are taken for the sole persona of acquiring wealth.Any affection shown with that is an added bonus, purely accidental and by no core essential to the relationship. There is one article of faith at the end of the first paragraph in which are contained almost all of the social morays with which Austen holds qualm, and she makes her qualms clear with her irony and expression The eonian attention of Mr. And Mrs. Henry Dashwood to his wishes, which proceeded, not merely from interest, but from good of magnetic core, gave him all(prenominal) degree of unattackable comfort his heart could receive. The constant attention, not constant affection, or even constant love, no, constant attention.They waited on him, served him as best they could to ensure a bear-sized chunk of inheritance, but not to worry, they did not do this merely from interest, but from goodness of heart. This clip does not economize their greed, but rather reinforces it, that merely adds dimensions to this sentence which implies that even if they were good of heart, they were still self-centred and out for all the could get. Finally, the comfort they spree the old man is altogether solid, no more than mate rialistic. They do not enrich him spiritually or intellectually, only materially.Austen has now set out the rules for the undermentioned novel, without even bringing her protagonists to light. Austen is by farthermost the most important character in the book, and her characterisation, therefore, is the most important. It is essential for the reader to hump Austen before the reader knows Elinor or Marianne, or else the aim of this book to teach people how to behave would be lost. The fact that Austen seems to be pulling apart the social arrangement whilst Elinor is in whole-hearted support for retaining the social do may seem perplexing, but I think a solution comes if one understands Austen as a person of moderation.She punishes Elinor also (though less harshly than Marianne) for being as well restrained. In so many passages in the book there is an awful odour of imprisonment on the part of Elinor as she is unable to do anything socially unacceptable. Therefore, there is cont radiction between Austen and Elinor, but that is because Elinor is not Austen, she is not perfect or shed light on or a paragon of what Austen believes pay off behaviour for a woman. Sense is supported, but room for emotion must be allowed or one is not human, says Austen, but cold and dead.