Literary Analysys Essay on Sense and Sensibility by Jane Austen

Introduction

Sages have said that we live in a post-truth world, a culture of politics where truth is framed as appealing to the emotions rather than intellect, obscuring the factual truth. Such political cultures breed circumstances where facts are less influential in shaping public opinion. Post-truth creates a system of patterns that encourage deviation from norm or rationality during judgment, to an illogical fashion in drawing inferences about different people or circumstances. Jane Austen works of fiction is universally acknowledged for its attachment with "truth." For example, her brilliant opening line in the novel pride is prejudice, "It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife," Which is now haykened. Crediting Austen with truth making has a long history, and her novels are seen to traffic in-true-life characters, in moral truths, and miniature details. Her writings rarely fetishize facts, and in-depth examination of her early foray into writing history is described as a work of a partial, ignorant, and prejudiced author. She fills her novels with ordinary people, events and places, which is in contrast with other novels of her time. Austen unapologetically acknowledged that her stories are fabricated an amusement considering how we yoke them to actualities.

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Truth in Austen's work is a matter of perception because she draws her materials from actual life the way she sees it. Her actions represented a landscape where nature and civilization were perfectly balanced. She uses realism in her fictional works to display a concern that describes things that exist and limits her imaginations in an existing order. Her prose contains repeatedly used words to represent quality and temperament of characters rather than an outward appearance, allowing the readers to feel they perceive the characters intimately. Austen creates an illusion of truth in her works by identifying the readers' connection with the characters and by incorporating round characters with history as well as memory. Her attention to detail, opposition, and probability led to her referral as the "historian of every day." Most of her novels are realists since they are mundane, depict ordinary fairy characters, and uses fiction to portray day-to-day experiences of a certain class of people at a particular time. Her character is complex with multifaceted emotions faced with plausible challenges in the day-to-day life.

In addition, Austen novels depicted reality and her heroes associated with realm as close as possible. She uses fiction to describe social reality, and by doing this, she introduces real morality through the description of relationships that humans encounter in daily life. Also, social realism in her work of fiction included her understanding that women in the 19th century had limited opportunities, and thus marriage was the most probable route for women to gain financial security. Realism rejects escapism as well as extravagance in producing true illusions, and Jane Austen represents through a combination of realism with romance and comedy.

Truth has been explained as being one and many. Truth may be seen to be normative, scientifically useful, and logically proven. Truth is hidden and is based on how different individuals perceive things. It has no nature at all and is a functional property because it properly functions in our cognitive economies, and is believed to open doors leading to an appealed pluralism. Truth as many can be explained by the functionalist theory of truth, which demonstrates that truth is an imminent function of property. The property of truth is the property that essentially has those features. Science provides many categories of truth, not all of which are comparable. Subjective, logical, and inductive truth depends on how the word is used and its practical adaptation. Subjective truth takes into consideration one's experience of the world while deductive truth refers to logic. On the other hand, the inductive truth is a representation of generalization as well as an analogy. This kind of truth allows an individual to draw logical conclusions that surpass information contained in any premises because it relies on empirical observations.

It is not likely that irony and truth can cohabit. In literature, the truth is not merely referred by simple language but is something that requires thinking through contradictory force of language. However, the irony in literature requires continued use of non-contradictory truth. Texts can only be read ironically by considering relations and tensions between what is said and not said, and commitment to truth in which language strives. There cannot be an abandoning of truth structures and irony in favor of textuality, where both coexist without conflict or hierarchy. Irony can not be overcome or achieved the same way one cannot remain in a naive position and beyond all discourses.

The novel Persuasion explicitly explains that the fall of Louisa from Wentworth's arms onto her head at Lyme was a result of her resentment to give in to persuasion. "Captain Wentworth advised her against it, thought the jar too great; but no, he reasoned and talked in vain, she smiled and said, "I am determined I will:" he put out his hands; she was too precipitate by half a second, she fell on the pavement on the Lower Cobb, and was taken up lifeless!" (12.33). His advice is placed against her willful determination, and her refusal to be persuaded by Wentworth almost kills her, leaving her with a concussion. Louisa Musgrove tragic tumble initially referred as a catastrophe or an accident, and it functions as a classical catastrophe in the novel. However, the novel supersedes it as a tragedy. Louisa's fall at Lyme marks a critical point at which Anne's and Wentworth roles reverse, allowing them to overcome communication barriers surrounding them gradually. The fall at Lyme is dreadful for Louisa, but it was a chance for Anne who was considered a heroine, to portray her expertise advising the shocked parties what to do, attending to Louisa with expertise, gaining admiration from Captain Wentworth. Besides brightening Anne's character in Wentworth's eyes, Louisa's fall also made him realize other women have been taking his flirtations seriously and he might be forced to marry Louisa.

The scene of the "sudden catastrophe" conveys the author's attitudes on self-enjoyment. Austen describes, "She was taken up lifeless" (129), creating an assumption among the readers that she was dead. Flirtation was Louisa's primary motive behind jumping, not sheer physical exuberance. Instead of clobbering Louisa for her show off or physical energy, Austen uses suspension of her death to get her out of Anne's way. The fall's effect on Louisa herself reflects when she virtuously disappears from the narrative after Anne left heart the Harville unconscious. Her departure clears the air, allowing Wentworth and Anne their long-awaited reunion. Using the word "lifeless" is at the expense of the readers' melodramatic expectations from the plot to punitive exploitations of morality. Louisa falls to an eventual marriage and happiness as well as a character change of Anne, which she finds amusing. The fall of Louisa plays a role in conveying Austen's thoughts of a woman who behaves like a little girl with her suitor. Austen uses the character of Anne to signify womanhood

Austen portrays Mariene Dashwood as a character who lacks sense but is all about sensibility. She firmly believes that feelings and not logic should guide one. Austen describes the onset of her illness as a less dramatic one with Colonel not in the picture, only appearing when her condition starts deteriorating. The dramatic scene of her illness starts when walks in the pouring rain to view Willoughby's estate from atop a hill. Rivulets of water pound down her face as musical strains swell. As she walks, she quotes a phrase Willoughby read to her during their happier days, "Love is not loving which alters when it alteration finds" as overhead roiling clouds echo her emotional anguish and turmoil. Her melancholy forces her to spend several walks in the evenings, eventually catching a violent cold. Elinor and Mrs. Jeggings nurse Mariene, but her condition ultimately deteriorates.

Mariene's illness is a product of excessive romantic sensibility and because of reactions that were physically plausible. On the one hand, Austen explains her illness because of Willoughby's rejection and the disappointment of her romantic dreams with him. On the other hand, Austen sees her illness resulting from catching a cold after wandering in the wet grounds of Cleveland. The author's description of her physical deterioration allows the readers not to view her case as a mere female hysteria, charting her course of illness from shivering to gothic delirium, portraying her illness as an affliction of both the body and soul. Colonel who nurses her saves her and Austen describes Mariene's condition as "touch and go." In the end, Mariene realizes that her unleashed emotions almost killed her since her fatal illness was because of impassionate walks in the pounding rain. She ends up doing the most plausible thing by marrying Colonel.