Sense and Sensibility excerpt from the introduction to The Novels of Jane Austen, by William Lyon Phelps, published by Frank S. Holby, New York (1906)
SENSE AND SENSIBILITY
Sense and Sensibility was the first of the novels to be honoured by publication. It appeared in 1811. It may be considered as her first work, for she had written a draft called Elinor and Marianne, which is undoubtedly the first form of the later novel. This was made originally in Letters; an interesting fact, because it affords unmistakable evidence of her debt to Richardson. She learned more of the art of writing from Richardson than from any other master; it is said that she could repeat pages of Sir Charles Grandison by heart. There is no doubt that [xxxiii] Richardson’s wonderful power of analysis, and his uncompromising realism, made a profound impression on her mind. She had too keen a sense of humour not to perceive his errors; but she remained all her life long an ardent admirer of his great genius. After the family had removed to Chawton, Jane Austen revised and prepared for publication her earlier works; and we shall never know how far the press copy differed from the manuscript she had written at Steventon in her girlhood. Her nephew¹ tells us that Sense and Sensibility was begun at Steventon in November, 1797, immediately after the completion of Pride and Prejudice; even thus early she had rejected the epistolary form for this novel, and had composed it on its present plan.
Then the work remained in manuscript until 1811, as the rejection of Pride and Prejudice, and the unwillingness of the Bath publisher to risk his money on Northanger Abbey – both of which works she must have thought superior to Sense and Sensibility – did not give her sufficient courage to make further overtures. During the spring of 1811, however, Jane Austen was in London, and with the assistance of her brother, the publication of her first novel became an assured fact. It is of course possible that it was printed at its author’s expense, though we do not know. With what affection she regarded the [xxxiv] children of her brain may be seen in a letter she wrote from London to her sister Cassandra, 25 April 1811.
“No, indeed, I am never too busy to think of S. and S. I can no more forget it than a mother can forget her sucking child; and I am much obliged to you for your enquiries. I have had two sheets to correct, but the last only brings us to Willoughby’s first appearance. Mrs. K. regrets in the most nattering manner that she must wait till May, but I have scarcely a hope of its being out in June. Henry does not neglect it; he has hurried the printer, and says he will see him again today. It will not stand still during his absence, it will be sent to Eliza.“
Then follows in the same letter a passage which seems to indicate that Cassandra had thought the incomes of the characters in the novel needed readjustment. “The incomes remain as they were, but I will get them altered if I can. I am very much gratified by Mrs. K.’s interest in it; . . . I think she will like my Elinor; but cannot build on anything else.”
In this same anxious period of suspense, another novel had appeared, which had awakened great interest and considerable alarm in the breast of the modest author of Sense and Sensibility, for she writes, “We have tried to get ‘ Self-Control,’ but in vain. I should like to know what her estimate is, but am always half afraid of finding a clever novel too clever, and [xxxv] of finding my own story and my own people all forestalled.”
She was delighted to receive from the publisher, Mr. Egerton, one hundred and fifty pounds! The book, therefore, was moderately successful, and its author had in her hands the visible proof thereof. She made no scruple whatever of showing her pleasure at the receipt of money earned in this manner; and we can easily understand her feelings, after she had waited so many years to see her writings in print. She was glad to hear her books praised, glad to have as many people as possible buy them, glad to receive money from the publisher. Writing in 1814 about Mansfield Park, she said, “People are more ready to borrow and praise than to buy, which I cannot wonder at; but though I like praise as well as anybody, I like what Edward calls ‘ Pewter’ too.”
Sense and Sensibility is on the whole the poorest of Jane Austen’s completed novels. The contrast between the two sisters is of course interesting; but they are less individual than the persons in the other tales. The very fact that Elinor stands for Sense and Marianne for Sensibility militates against the reality and charm of their personalities; and the three leading men are less satisfactory than her other heroes. The book is the least original of all her works; and in places [xxxvi] sounds as if it were written under the shadow of Richardson’s influence. There is of course the same contrast between first impressions and the final reality that appears elsewhere; there is the same endeavour to show that those who have the most ease of manner are not necessarily of the most solid worth. There is in addition the touch of burlesque in the character of Marianne, where Jane Austen is laughing at the sentimentalists; but while all these characteristics are typical of her art, they appear with less subtlety than in the other novels, indeed one might say there is now and then a suggestion of crudity. Edward Ferrars is spineless, Willoughby is a stage villain, and Colonel Brandon is depressing. On the whole, if we had to part with any one of Jane Austen’s works, I imagine that Sense and Sensibility is the one that we should most willingly let die.
[An editoral interjection here! I laughed out loud over his comment, "Edward Ferrars is spineless, Wiiloughby is a stage villian, and Colonel Brandon is depressing." After one hundred years, many may harbor this same complaint!]
Footnotes
1.) ‘Nephew’ refers to James Edward Austen-Leigh who wrote A Memoir of Jane Austen which included a family recollection of Jane Austen’s life and works.
Continue to Pride and Prejudice introduction by Phelps
