英语论文-Analysis of Marianne’s changing view of love.doc

英语论文-Analysis of Mariannes changing view of loveFrom Sensibility to Sense -Analysis of Mariannes changing view of love Abstract: Jane Austen is a great female writer in the history of English literature. Her works have an effect to the world. “Sense and Sensibility” is a famous one among them. This paper mainly compares the two sisters view of love: Elinor is rational while Marianne is emotional. With the development of the story, Mariannes attitude is changing from sensibility to sense. Under the contemporary social condition, this rational view of love has its particular meaning. Ideology, class, money as well as other peoples help are important factors used to explain her view. At the same time, this changing view has its influence to the people and the society. Key words: sensibility; sense; view of love; change.大秘书网文章- 找范文,到大秘书网 从情感到理智 - 解析玛丽安变化的爱情观 摘要： 简奥斯丁是英国文学史上一位著名的女作家，其著作对后世影响深远。是其中较为著名的一篇。本文主要通过分析两姐妹玛丽安与埃丽诺对待爱情的态度：姐姐较为理智，而妹妹则较为情感。随着故事的发展，妹妹的态度发生变化，由情感转为理智。在当时的社会条件下，这种理性的爱情观有其特殊的历史内涵。思想意识，阶级，金钱以及他人的帮助，都有助于解释她的态度为何发生变化。同时，这种变化对人及社会都重要的影响。 关键词： 情感；理智；爱情观；变化 1.0 Introduction 1.1 The introduction of Jane Austen Jane Austen (1775-1817) is a great female writer in the history of English literature. She is among the first English women to break the male monopoly of novel writing. Her brilliantly witty, elegantly structured satirical novels vividly described the life of the common people in the countryside .Her mainly literary concern is about human beings in their social relationships. Her novels reveal in a subtle determined manner, the beauty of women (not only physical beauty), and their longing for freedom in the marriage life. There are 6 great woks in her life such as Sense and Sensibility (1811), Pride and Prejudice (1813), Mansfield Park (1814), Emma (1816), Northanger Abbey (1818), Persuation (1818). Jane Austen can match with Shakespeare and Dickens in the history of literature by her famous novels. H.W. Wollber, a famous English scholar, has a great remark: “In this world, it is a comedy to understand by reason, while a tragedy by emotion” (Edward Corpland, 2001 The Cambridge companion to Jane Austen). Jane Austen writes many famous comedies by her reason. Just as George Henry Lewes pointed that the quintessence of Austens art is seriousness. Austens comedies can help people to realize their mistakes or shortcomings. Austens novels are mainly concerned with young womens social growth and self-discovery. Nearly all of them explore a consistent theme that maturity is achieved through the loss of the illusions. Faults of character displayed by the people of her novels are corrected, when, through various trials and misunderstandings, lessons are learned. 1.2 The general knowledge of Sense and Sensibility. Among her works, Id like to analyze Sense and Sensibility . This work, which Austen writes with her usual irony, humour and profound sensitivity, turns upon the tension between desire and discretion in a womens society in England in the 18 th century. Given the social and financial system which is so systematically heartless in its treatment of women, and in which marriage must seem first of all important as a step towards material prosperity or its reverse, the question whether a young woman has sense or sensibility itself becomes touched with irony. The Dashwood family holds center stage in the novel. Mrs Dashwood and her three daughters, forced by the avaricious daughter-in-law, have to leave Sussex and move to Dever. For the sensible daughter Elinor, the move is a painful separation from the man he loves. However, her sister Marianne finds in the new place the romance which she loves. Elinor is a woman of good sense, while Marianne is the creature of sensibility. When they find the man they love have other lovers, one controls her emotion, and the other lets her emotion controls her actions. 2.0 The two sisters view of love. 2.1 Elinors attitude of love. Elinor, the older sister, whose advice is so effectual, possesses a strength of understanding, and coolness of judgement, which qualified her, though only 19, to be the counsellor of her mother, and enable her frequently to counteract, to the advantage of the them all, that eagerness of mind in Mrs Dashwood which must generally have lead to imprudence. She has a gentle disposition and a strong feeling. With the sober judgement and special view, she knows how to control her feelings. “It was a knowledge which her mother had yet to learn; and which one of her sisters had resolved never to be taught”(Jane Austen, 2001 Sense and Sensibility :5). She is good at dealing with the housework and relationships with other people. When she knows that her lover, Edward, is betrothed, we cant find there is anything wrong with her. “When she is injured, she can try her best to control her feelings in order to let her mother and her sister not know the truth. Elinor has an excellent heart, and strong feelings as well as prudence. The opposing values of romance and practical realism are debated as each sister takes issue with the conduct and the doctrine of the other. Elinor is more circumspect more aware of how the self interacts with others. In her view, conventions are necessary and even useful. Prudent Elinor painfully hears out Lucy Steeles story of Edward Ferrarss secret engagement to her under cover of the noise and music in Lady Middletons drawing room. “ Elinor for a few minutes remained silent. Her astonishment at what her heard was at first too great for words; but at length forcing herself to speak cautiously, she said with the calmness of manner, which tolerantly well concealed her surprise and solicitude”(Jane Austen, 2001 Sense and Sensibility :81). Then heart broken by the revelation of what she constrains herself to think of, conventionally, as Lucys secret. She says nothing about it to her mother and sisters, who have assumed, with her, that Edwards mother is the only impediment to her marriage : “It was a relief to her, to be spared the communication of what would give of Edward, which would probably flow from the excess of their partial affection for herself, and which was more than felt equal to support. From their counsel, or their conversation she knew she could receive no assistance, their tenderness and sorrow must add to her distress, while her self-command would neither receive encouragement from their example nor from their praise. She was stronger alone, and her own good sense so well supported her, that her firmness was as unshaken, her appearance of cheerfulness as invariable, as with regret so poignant and so fresh, it was possible for them to be”( Edward Corpland,2001 The Cambridge companion to Jane Austen: 45). As Lucy confess so as to steer Elinor away from Edward, in an effort to get him back and Elinor seeks to find out the hurtful truth while convincing Lucy of her perfect serenity and propriety, the young women use what looks like an intimate exchange to strengthen the facades that conceal and serve their opposing purpose. When Elinor mediates as generously as she can on the character of her sisters deceiver, she condemns Willoughby in the words used here of John Dashwood: “Extravagance and vanity had make him cold-hearted and selfish.” A world where men have those vices is a harsh one for young women. 2.2 Mariannes attitude of love. Marianne, the younger sister, is, in many respects, quite equal to Elinor. She is sensible and clever; but eager in everything; her sorrows her joys, can have no moderation. She is generous, amiable, interesting; she is everything but of prudent. When she meets Willoughby , she cant help falling in love with him at the first sight. Willoughby is a handsome man. When he comes, many people, including Marianne pays much attention to him. Marianne likes to make friends with this kind of people with charming appearance and perfect personality. “ His namely beauty and more than common gracefulness were instantly the theme of general admiration, and the laugh which his gallantry raised against Marianne received particular spirit from his exterior attractions. -Marianne herself had seen less of his person that the rest, for the confusions which crimsoned over her face, on his lifting her up, had robbed her of the power of regarding him after their entering the house ”(Jane Austen, 2001 Sense and Sensibility :38). Marianne loves the poetry of Cowper and Scoot, and picturesque landscapes; She believes in first sight and passionate love, a meeting of tastes and minds; She trusts her feelings to guide her conduct. When she knows that Willoughby will apart her, she is deep in the sorrow. “ Go to him, Elinor, she cried, as soon as she could speak, and force him to come to me, tell him I must see him again must speak to him instantly. I cant rest I shall not have a moments peace till this is explained-Some dreadful misapprehension or other- oh go to him this moment.”( Jane Austen, 2001 Sense and Sensibility:101). Later the social and psychological dangers of showing feeling are excruciatingly dramatized as Marianne insists on claiming intimacy with Willoughby in a crowded ballroom. Marianne doesnt believe Willoughby will cheat her. “ Marianne would have thought herself very inexcusable had she been able to sleep at all night after parting from Willoughby . She would have been ashamed to look her family in the face the next morning, had she not risen from her bed in more need of repose than she lay down in it. But the feelings which made such composure a disgrace, left her in no danger of incurring it. She was awake the whole night, and she wept the greatest part of it. She got up with a headache, was unable to talk, and unwilling to take any nourishment; giving pain every moment to her mother and sisters, and forbidding all attempt at consolation from either .Her sensibility was potent enough! ”(Edward Corpland, 2001 The Cambridge companion to Jane Austen :45). In this world, where sons and lovers seem interchangeable, where people affect by watching one another, and individuals seem neither integral nor unique. Marianne Dashwood romantically insists on an ideal of perfect self-fulfillment in a love based on mutual feeling and shared tastes, and hence on the impossibility of second attachments; it is one of her , most favorite maxims, A conversation between Elinor and Brandon, early in the novel , raises the nice question of whether she thinks them unimaginable or immoral: Your sister, I understand, does not approve of second attachment. 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. (Jane Austen, 2001 Sense and Sensibility :62). 3.0 Mariannes changing view of love and its historic meaning. At first, Marianne doesnt like Brandon very much. She just wants to be average friends, not close friends. At the same time, Brandon is much older than Marianne. He is not active or passionate. After cheated by Willoughby , Mariannes attitude towards love has changed a lot. She realized that Willoughby is just a playboy. This kind of people cant bring her happiness. This kind of people is changeable because of many factors. Looked after by Brandon , Marianne realizes that Brandon is a good person .He has the ability to take care of her and bring her happiness. Mariannes view of love has changed from sensibility to sense. This rational view of love is pointed by Jane Austen. It seems that Austen is offering her advice to young girls that they should never lose their reasoning power in dealing with men. How to understand and appraise this rational view of love? According to the principles in the Marxism, we should put the problems to the special historic category, namely, the concrete social environment. Love is not the only affair between the man and the women, and it can reflect some social features. This view of love has its own particular historic meanings. First, from this kind of view, Austen explains the womens bad situation, such as the feudal societys hostility and persecution. In a hostile environment, if the young girls are lack of reason, then they will easily be hurt both in heart and in body. Willoughby deceived Marianne, but he was not punished by the society. He was indulged and protected by the society. Second, comparing reason with emotion, a woman should know how to protect herself in a hostile environment. Different attitudes bring different results. Elinor is a rational person, so she can protect herself in a hostile situation, and has avoided being hurt by the disasters. Marianne is an emotional person, so it is hard for her to protect herself when meet the hostility. Obviously it is dangerous to be guided by emotion while it is safe to be guided by reason. Third, the figure of Elinor indicates Austens women consciousness, if women want to be free, they should have the ability to know, to judge, to respect. The rational view of love means women should have rational judgement and study ability. They can learn to be strong from the frustration. ( Marianne is a good example of it) 4.0 Social reasons. 4.1 Ideology aspect The period Marianne lives is a changing time. The Industrial Revolution happened in the middle of 18 th century make machine replace labourforce. Many people go to the city from the town, and many new towns emerge. Industrial proletariat and bourgeoisie come into being, but a lot of lands are still occupied by the aristocrat. The social situation is complex and complicated. In the ideology aspect, rational knowledge is the subject of the society. Reason is the standard used to measure the objects and society. The Enlightenment developed fast in the period, people often use reason to control their actions. 4.2 Class aspect Jane Austen is a member of the professional class. The men in the professional class are expected to pursue a profession, either the army, navy, clergy, law, or medicine. The women are excluded from these professions and are expected to marry. Elinor and Marianne are representative examples of young ladies of the professional class. In “ Sense and sensibility”, they socialize with and marry into the landed gentry, the next higher social class. Women in the class to which Jane Austen and the Dashwood sisters belong are not allowed to work. They depend upon suitable marriages or the generosity of the their male relations for financial support and have no economic freedom. At the beginning of sense and Sensibility, the narrator informs us how a rich old gentleman, Mr Dashwood, so ties up both his money and his estate that it must stay in the male line, and may not be alienated to the girls of the family, even though the son is already amply provided for wife and daughters are deprived; and the estate and the money as well must descend to his son, and his sons son. Hence there is a considerable difference in prestige and expectation between elder sons and younger sons, as between sons and daughters. The persistent plight of many female members of the genteel class is a principle subject. Women who are not wealthy in their own right ( and simultaneously unmarried or widowed) are utterly dependent on the fortunes and, indifferent degrees, related. In addition to the mens economic situation, family obligation-whether it is that of the a father, husband, son, brother, or other relatives-is often the sole determination of the condition of their lives, In order to make the best situations in which they are utterly dependent on the relationships to men, these women needed certain attributes. 4.3 Money aspect Money also plays an important part in the marriage. Money as a spendable income is the love-tipped arrow aimed at the hearts of Austens heroines and her readers. First of all, for its power to acquire the material goods that can support the all-important signs of her ranks claims to genteel station; Second, as the prod of anxiety that focus its own potential for loss. The heartbeat of romance lies in a good income. That is the universal truth about which there is no doubt in contemporary womens fiction. The Dashwood women, for example, Elinor and Marianne, name their hearts desires: About eighteen hundred or two thousand a year; not more than that; Marianne confides. Two thousand a year! cries Elinor, shocked one is my wealth. Marianne defends two thousand a year as she specifies the consumer expenses appropriate to it; “I am sure I am not extravagant in my demands. A proper establishment of servants, a carriage perhaps two, and hunters, cannot be supported on less” ( Jane Austen, 2001 Sense and Sensibility: 56). Elinor smiles to hear her younger sister describing so accurately, and so transparently, the exact consumer expenses suited to the potential income of her lover, the soon-to-prove-faithless Willoughby . But in her own turn, Elinors projection of one thousand pound is the income of the prosperous clergyman family that she longs to be mistress of. In the concluding pages Marianne gets her two thousand ponds a year, though from a different lover, and Elinor gets her one thousand a year, or suitably near it. In the more intimate domestic negotiations of the novel, womens fiction turns to the particular relationship that women have with money -that is, no legal title to it for married women, and rights severely curtailed for unmarried women. In a frustrating social irony, the pseudo-gentry women find herself responsible for the management of the household, but prevented by law and custom from exercising any significant control over the management of the familys income, a male prerogative.