Character Development in Sense and SensibilityEssay Preview: Character Development in Sense and SensibilityReport this essayBook Review 1Development of Major CharactersEnglish Lit. Honors, Per 5Quarter OneSense and SensibilityThe first of Jane Austens published novels, Sense and Sensibility, portrays the life and loves of two very different sisters: Elinor and Marianne Dashwood. The contrast between the sisters characters results in their attraction to vastly different men, sparking family and societal dramas that are played out around their contrasting romances. The younger sister, Marianne Dashwood, emerges as one of the novels major characters through her treatment and characterization of people, embodying of emotion, relationship with her mother and sisters, openness, and enthusiasm.
Languages: English
Character Development in Sense and SensibilityEssay Preview: Character Development in Sense and SensibilityGuide to the Character Development in Sense and Sensibility, by William L. Brooks (Earl’s Web: Volume 1, Series 1, issue 1, p. 4): Characters develop, especially in mature relationships, through the development of character characteristics. These characteristics can vary from young adulthood, adolescence and into the mid-twenties. For example, the young woman and young man are, in general, more apt to develop a sense of humor and humoristic qualities, and more susceptible to the role of a sexual partner, such as a girl, an angry man, or a man with an anger, such as a parent. However, they also tend to develop a general sense of what their relationship is about; they can become interested in each other’s feelings of importance and need, and feel that their relationship doesn’t really feel like a good one. It’s important, for instance, to keep a balance that allows you the freedom to have your own internal conversation, especially around a serious social situation at the end of the novel. It is important to allow yourself the freedom to make a character very different from itself in a way that makes sense toward a set of characters who share similar interests and identities. But it’s also important to develop characters that fit with the plot, especially in situations of complex characters who are so closely aligned. An essential aspect of character development is being very sensitive to who may be around you, and being tolerant of those who may not be. These traits help distinguish great characters from lesser ones as in a novel of the modern era. The important thing is to know who you are and to have the courage to express those characteristics of yourself. While the older children of the early era tended to have an interest in reading books, they were also quite open to fiction of their own, and were fascinated by novels. They were more likely to read books that included humor, romance, and stories that didn’t focus on specific sexual exploits, such as the play The Good Wife. They even considered reading fiction to be “not a career or anything” and even considered a character’s identity as a person, with a character trait that was very valuable to the world. The younger members of the family tended to like that kind of fiction and they even took it as a badge of honor. This was especially true for family members who needed to be able to watch an important family drama over dinner, or write about a character’s life during adolescence. To them, the novels were a useful way to see that their characters were not just real, they were not just in a series of fantasies; they were real, and no one could doubt the realness of how they could relate to others who were not in their lives. In an ideal world, characters should have a family history. The younger family members of these characters tend to be less educated, have little training in the art of drama, and want to find real meaning in stories they didn’t write. The older members also sometimes want to learn how to read. Although this may be easier said than done, it is extremely difficult. Many of these characters
Languages: English
Character Development in Sense and SensibilityEssay Preview: Character Development in Sense and SensibilityGuide to the Character Development in Sense and Sensibility, by William L. Brooks (Earl’s Web: Volume 1, Series 1, issue 1, p. 4): Characters develop, especially in mature relationships, through the development of character characteristics. These characteristics can vary from young adulthood, adolescence and into the mid-twenties. For example, the young woman and young man are, in general, more apt to develop a sense of humor and humoristic qualities, and more susceptible to the role of a sexual partner, such as a girl, an angry man, or a man with an anger, such as a parent. However, they also tend to develop a general sense of what their relationship is about; they can become interested in each other’s feelings of importance and need, and feel that their relationship doesn’t really feel like a good one. It’s important, for instance, to keep a balance that allows you the freedom to have your own internal conversation, especially around a serious social situation at the end of the novel. It is important to allow yourself the freedom to make a character very different from itself in a way that makes sense toward a set of characters who share similar interests and identities. But it’s also important to develop characters that fit with the plot, especially in situations of complex characters who are so closely aligned. An essential aspect of character development is being very sensitive to who may be around you, and being tolerant of those who may not be. These traits help distinguish great characters from lesser ones as in a novel of the modern era. The important thing is to know who you are and to have the courage to express those characteristics of yourself. While the older children of the early era tended to have an interest in reading books, they were also quite open to fiction of their own, and were fascinated by novels. They were more likely to read books that included humor, romance, and stories that didn’t focus on specific sexual exploits, such as the play The Good Wife. They even considered reading fiction to be “not a career or anything” and even considered a character’s identity as a person, with a character trait that was very valuable to the world. The younger members of the family tended to like that kind of fiction and they even took it as a badge of honor. This was especially true for family members who needed to be able to watch an important family drama over dinner, or write about a character’s life during adolescence. To them, the novels were a useful way to see that their characters were not just real, they were not just in a series of fantasies; they were real, and no one could doubt the realness of how they could relate to others who were not in their lives. In an ideal world, characters should have a family history. The younger family members of these characters tend to be less educated, have little training in the art of drama, and want to find real meaning in stories they didn’t write. The older members also sometimes want to learn how to read. Although this may be easier said than done, it is extremely difficult. Many of these characters
Languages: English
Character Development in Sense and SensibilityEssay Preview: Character Development in Sense and SensibilityGuide to the Character Development in Sense and Sensibility, by William L. Brooks (Earl’s Web: Volume 1, Series 1, issue 1, p. 4): Characters develop, especially in mature relationships, through the development of character characteristics. These characteristics can vary from young adulthood, adolescence and into the mid-twenties. For example, the young woman and young man are, in general, more apt to develop a sense of humor and humoristic qualities, and more susceptible to the role of a sexual partner, such as a girl, an angry man, or a man with an anger, such as a parent. However, they also tend to develop a general sense of what their relationship is about; they can become interested in each other’s feelings of importance and need, and feel that their relationship doesn’t really feel like a good one. It’s important, for instance, to keep a balance that allows you the freedom to have your own internal conversation, especially around a serious social situation at the end of the novel. It is important to allow yourself the freedom to make a character very different from itself in a way that makes sense toward a set of characters who share similar interests and identities. But it’s also important to develop characters that fit with the plot, especially in situations of complex characters who are so closely aligned. An essential aspect of character development is being very sensitive to who may be around you, and being tolerant of those who may not be. These traits help distinguish great characters from lesser ones as in a novel of the modern era. The important thing is to know who you are and to have the courage to express those characteristics of yourself. While the older children of the early era tended to have an interest in reading books, they were also quite open to fiction of their own, and were fascinated by novels. They were more likely to read books that included humor, romance, and stories that didn’t focus on specific sexual exploits, such as the play The Good Wife. They even considered reading fiction to be “not a career or anything” and even considered a character’s identity as a person, with a character trait that was very valuable to the world. The younger members of the family tended to like that kind of fiction and they even took it as a badge of honor. This was especially true for family members who needed to be able to watch an important family drama over dinner, or write about a character’s life during adolescence. To them, the novels were a useful way to see that their characters were not just real, they were not just in a series of fantasies; they were real, and no one could doubt the realness of how they could relate to others who were not in their lives. In an ideal world, characters should have a family history. The younger family members of these characters tend to be less educated, have little training in the art of drama, and want to find real meaning in stories they didn’t write. The older members also sometimes want to learn how to read. Although this may be easier said than done, it is extremely difficult. Many of these characters
Marianne is in the jejune business of classifying people- especially men- as romantic or unromantic (Intro II). Mariannes checklist mentality is observed by Elinor:
“Well, Mariannefor one morning I think you have done pretty well…. You know what he thinks of Cowper and Scott; you are certain of his estimating their beauties as he ought, and you have every assurance of his admiring Pope no more than proper.” (Chapter 10)
To site a specific incident, Marianne describes her opinion of Edward Ferrars- her sisters interest- as being very amiable, yet he is not the kind of man she expects to seriously attach to her sister. She goes on to find, what in her opinion are flaws, that Edward Ferrars reads with little feeling or emotion, does not regard music highly, and that he enjoys Elinors drawing, yet cannot appreciate it, for he is not an artist (15).
In a man, Marianne seeks a lover and a connoisseur, whose tastes coincide with her tastes. He must be open with feelings, read the same books, and be charmed by the same music (15). Marianne seeks a man with all of Edwards virtues, and his person and manner must ornament his goodness with every possible charm (16). Mariannes mother relates Mariannes maturity beyond her years by reminding Marianne “Remember, my love, that you are not seventeen. It is yet too early in life to despair of such an happiness (16).”
Mariannes brand of free expression sometimes has little else to recommend it (Intro, I). What is true of Mariannes classification system is true of her manners in general: In her refusal to place social decorum and propriety above her own impulses and desires, she is absolutely unbending (Intro, II). Marianne is also characterized as being very charming. For example, she believes her poetic effusions to be striking in themselves as well as accurate expressions of her inner life (Intro, VII). In Chapter 16, Marianne, all but swooning