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Lecture 3

ENG 110 Lecture Notes - Lecture 3: Sense And Sensibility, Waistcoat

Course Code
ENG 110
Cooley Ron

of 3
Lecture 3 Sense and Sensibility Prof: Ron Cooley, 2016
Romantic Comedy
Movement from alienation (conflict) to reconciliation
Focus on young lovers (despite Colonel Brandon)
Blocking forces or characters
Plural / communal / social heroism
Marriage = Resolution
Dislocation and return (Romance = Quest)
Dislocation and Return
oIn “As You Like It”:
Corrupt city Pastoral forest Renewed city
oIn “Sense & Sensibility”:
Country City Country
When they go to London for the season for balls
etc. That’s the closest they get to a magical
world / adventure
When they come back to their home, their home
is restored and their world comes back together
Marianne learns a lot about Elinor through this
Blocked Love
oRosalind – Orlando
Duke Frederick’s Envy
Oliver’s Envy
Orlando’s shyness
Rosalind’s disguise
oMarianne – Willoughby
Miss Grey
Mrs. Smith
Money / W’s Inheritance
oMarianne – Brandon
Marianne’s Sensibility
oElinor – Edward
Mrs. Ferrars
Departures from Romantic Comedy Paradigm
oPlay vs. Novel (change in genre)
What can be presented on a stage over the course
of a few hours vs. what can be digested over the
span of days +- depending on reader’s interest
oExpansion of time / slowing of pace
Novels can spend lots of time in the character’s
heads whereas plays may only do so with a
limited number of soliloquies
oBUT – chapters resemble dramatic scenes
C 1-5 = Norland – exposition
C 6-7 = Enter Middletons and Colonel Brandon
C 9-12 = Enter Willoughby
C 13 = Exit Brandon
C 15 = Exit Willoughby
C 16-18 = Enter Edward
C 19-20 = Exit Edward; Enter the Palmers
C 21-22 = Exit Palmers; Enter Lucy
Compression vs. Expansion
oCompressed time on Stage
Heightens sense of magical transformation (e.g.
Ganymede Rosalind transformation)
oExpanded time in Novels
Focus on learning / maturation / psychological
o“magical transformation”: when it turns out that Lucy
married Robert instead of Edward
Novelistic Pattern of Gradual Transformation
oChanging characters and changing perceptions
oEdward (53) and Marianne on Edward (55)
Readers are kinda less confident in his character
in the beginning although he gives off a
mysterious vibe and we are led to believe that
there is more emotional depth to his character
and some secret from his past – these things are
actually ideal for the male opposite characters
oWhat is the effect of Edward’s engagement to Lucy on
our perception of his character?
oBrandon (70)
Turns out to not be a plotting evil, but just a man
with a broken heart?! who’s seeking to defend
someone he cares about
His duel with Willoughby shows a persona that is
very different from his waistcoat appearance
because he is now presented as someone more
active and passionate rather than a boring
middle-aged man
Causes of transformation?
Recognition and reversal
Willoughby’s betrayal
Discovery of Elinor’s suffering
Her own illness
She has to conceal the truth about Lucy & Edward
from her family (167)
Effect of Elinor’s restraint ? (275-276)
If Elinor had indulged in a little more Sensibility, then
maybe Marianne would have also invited some Sense?