The way Elinor approaches the situation of owning a horse reveals her character, and by the same token reveals Marianne’s character. Elinor says, “She had accepted the present without hesitation, and told her sister of it in raptures” (Austen 45). The lack of hesitation and the pure joy that Marianne exhibits displays her Romantic view of the situation, because to be given a horse is of a romantic nature, and thus the reality has no sudden effect on her comprehension of the situation. The narrator says, “Most unwillingly was she to awaken from such a dream of felicity, to comprehend all the unhappy truths which attended the affair; and for some time she refused to submit to them” (Austen 45). The word “dream” and “awaken” allude to Romanticism
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Elinor says, “’I do not attempt to deny,’ said she, ‘that I think very highly of him-that I greatly esteem, that I like him’” (Austen 16). Elinor speaks of her feelings for Edward in a regard that lacks passion, not necessarily a lack of love, but she speaks of him in a way that “favors restraint.” Elinor thus acts accordingly, considering she has just meet Edward and has only known him for a short span of time, as is the situation in Chapter 4. Elinor’s word choice in speaking of Edward shows restraint because she says she “thinks highly of him” but doesn’t say she adores him. Similarly she “likes him” but doesn’t necessarily declare passionate love. Furthermore, Elinor displays an opposition to emotion later in the novel as she tries to conceal her emotion over Edwards being engaged to Lucy. The narrator says, “She turned towards Lucy in silent amazement, unable to divine the reason or object of such a declaration, and though her complexion varied, she stood firm in incredulity and felt in no danger of a hysterical fit, or a swoon” (Austen 97). Again, the restraint and opposition to emotion that fall under the ideals of Classicism are not strictly set, which means that Elinor does feel emotion in the situation, but she practices restraint with that emotion. The word amazement that the narrator use to describe Elinor’s reaction definitely shows ranging emotion, as does the “variations of her complexion” these words indicate that her composure was certainly altered. However, Elinor does not let this emotion of amazement overcome her, and thus felt no impending harm of falling into a hysteria. Her composure also does not get altered to the point of her feeling faint or “swoon.” Thereby, Elinor restrains her emotion, whereas a
Elinor says, “’I do not attempt to deny,’ said she, ‘that I think very highly of him-that I greatly esteem, that I like him’” (Austen 16). Elinor speaks of her feelings for Edward in a regard that lacks passion, not necessarily a lack of love, but she speaks of him in a way that “favors restraint.” Elinor thus acts accordingly, considering she has just meet Edward and has only known him for a short span of time, as is the situation in Chapter 4. Elinor’s word choice in speaking of Edward shows restraint because she says she “thinks highly of him” but doesn’t say she adores him. Similarly she “likes him” but doesn’t necessarily declare passionate love. Furthermore, Elinor displays an opposition to emotion later in the novel as she tries to conceal her emotion over Edwards being engaged to Lucy. The narrator says, “She turned towards Lucy in silent amazement, unable to divine the reason or object of such a declaration, and though her complexion varied, she stood firm in incredulity and felt in no danger of a hysterical fit, or a swoon” (Austen 97). Again, the restraint and opposition to emotion that fall under the ideals of Classicism are not strictly set, which means that Elinor does feel emotion in the situation, but she practices restraint with that emotion. The word amazement that the narrator use to describe Elinor’s reaction definitely shows ranging emotion, as does the “variations of her complexion” these words indicate that her composure was certainly altered. However, Elinor does not let this emotion of amazement overcome her, and thus felt no impending harm of falling into a hysteria. Her composure also does not get altered to the point of her feeling faint or “swoon.” Thereby, Elinor restrains her emotion, whereas a