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

In this novel, Austen is setting bring out rules of conduct for women in a time when England was moving from a period a recollective stability to sudden and total change. Unless people k sweet how to behave, she thought, chaos would ensue. England was entering the industrial Revolution, having just seen the French Revolution and the American War of Independence. A new literary style was sweeping the nation, wizard 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 both groups as adept and Sensibility. (The Gothic style withal came somewhat at this time, championed by those who had suddenly discovered freedom both literary and, in some cases, physical with the gloam of oppressive governments surrounding England Austen also wrote anti-Gothic novels, like Northanger Abbey. ) Austen was definitely in nominate of Sense, which this novel shows so clearly. Auste n argues her case for sense over esthesia by polarising the main protagonists on the subject.Marianne represents sensibility in all its dramatic, baroque and extraordinary(p) glory, whilst Elinor represents sense (not cold, emotionless logic, merely a tactful reason intimately 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 marry the man she wants and Marianne gives up sensibility and accepts an unconvincing happy ending with a socially respectable result. Austen, then, is opus not a novel, but a book of behaviour for women in this tumultuous time, much in keeping with little girls conduct books of the time.The get-go chapter so brilliantly allows for these developments later in the book by not mentioning them at all, or at least not until the closing paragraphs in which the reader is introduced to Elinor and Marianne. This first chapter is primarily concer ned in setting up Austens temper in the book, that of satirical social commentator and moral guide. And this character is set up within the opening paragraph. Austens behaviour as former in this chapter al close to contradicts Elinor later on.The way the aristocratic Dashwood family interact with all(prenominal) other on human terms is mocked and pulled apart by Austens scathing irony these first paragraphs could almost be in defence of sensibility Relationships are described in contractual terms no nightlong is your son family, he is clientele no longer do you love, you esteem. Family isnt about estimation, its about affectation. Appearance and finance are all that matter on the Norland estate, respectability and wealth. People are spoken of in terms of service program and actions are taken for the sole purpose of acquiring wealth.Any affection shown with that is an added bonus, purely accidental and by no means essential to the relationship. at that place is one sentence 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 diction The everlasting attention of Mr. And Mrs. Henry Dashwood to his wishes, which proceeded, not merely from interest, but from excellence of heart, gave him every degree of firm comfort his heart could receive. The continual attention, not constant affection, or even constant love, no, constant attention.They waited on him, served him as best they could to ensure a blown-up chunk of inheritance, but not to worry, they did not do this merely from interest, but from goodness of heart. This sentence does not redeem their greed, but alternatively reinforces it, that merely adds dimensions to this sentence which implies that even if they were good of heart, they were still selfish and out for all the could get. Finally, the comfort they offer the old man is only solid, no more than materialistic. They do not en rich him spiritually or intellectually, only materially.Austen has now set out the rules for the following novel, without even saving her protagonists to light. Austen is by far the most important character in the book, and her characterisation, therefore, is the most important. It is essential for the reader to know 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 circumstance that Austen seems to be pulling apart the social order whilst Elinor is in whole-hearted stake for retaining the social order may seem perplexing, but I specify a solution comes if one understands Austen as a person of moderation.She punishes Elinor also (though less harshly than Marianne) for being too restrained. In so many an(prenominal) passages in the book there is an awful feeling of imprisonment on the part of Elinor as she is unable to do anything socially unacceptable. Therefore, there is contradiction in terms betwee n Austen and Elinor, but that is because Elinor is not Austen, she is not perfect or temper or a paragon of what Austen believes correct 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.