Tag: Marianne Dashwood

The Ladies of Norland: Twisted Austen (Book 6), by Alexa Adams — A Review

The Ladies of Norland by Alexa Adams 2020From the desk of Sophia Rose:

For several years beguiling authoress Alexa Adams has enjoyed warping our comfortable and familiar Jane Austen stories into quick, deliciously revolting variations that readers can experience with a tingling sort of shock at the new outcome. Her cold, conniving Jane Bennet, in Jane and Bingley: Something Slightly Unsettling (2013), to a pitiable Mrs. Norris in Becoming Mrs. Norris (2014), left me properly aghast as the hair on my arms stood on end. For her latest Twisted Austen effort, The Ladies of Norland, she revisits the Dashwood family in Sense and Sensibility to give us an alarming ‘what if’. Continue reading “The Ladies of Norland: Twisted Austen (Book 6), by Alexa Adams — A Review” →

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The Sense and Sensibility Screenplay & Diaries, by Emma Thompson – A Review

The Sense and Sensibility Screenplay & Diaries, by Emma Thompson (1995)Nominated for seven Academy Awards®, the 1995 movie Sense and Sensibility remains one of my most cherished interpretations of a Jane Austen novel. Everything about this film project seems to be touched with gold; from the award winning screenplay by actress Emma Thompson; to the incredible depth of British acting talent: Kate Winslet, Alan Rickman, Gemma Jones, Harriet Walter, Greg Wise, Hugh Grant and Emma Thompson; stunning film locations in Devonshire; and the fine brush-work of the Taiwanese director Any Lee. The movie touched many and introduced Jane Austen’s classic story of two divergent sisters searching for happiness and love to millions. I never tire of viewing it, basking in its beautiful cinematography, enjoying its thoughtful performances and marveling at its exquisitely crafted screenplay – both reverent to Austen’s intensions and engaging to modern audiences. Continue reading “The Sense and Sensibility Screenplay & Diaries, by Emma Thompson – A Review” →

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Sense and Sensibility Movie (1981) – A Review

Sense and Sensibility (1981) DVD coverThis 1981 BBC seven-part miniseries of Sense and Sensibility is a solid but flawed adaptation of Jane Austen’s masterpiece. In my mind, the character of Marianne Dashwood is always the benchmark for a superior adaptation. She is a complicated creature driven by emotion and racked with vulnerability, and if the actress portraying Jane Austen’s most melodramatic character can play her as intended, the whole production can rest on her shoulders. Tracey Childs as Marianne Dashwood exuded all the frantic emotion and romantic “sensibilities” that Marianne should at all the right moments, and Irene Richards as her sister Elinor was equally convincing, and at times touching, as her stoic, stable and guarded counterpart. However, my disappointment in the male characters: Edward Ferrars, John Willoughby and Colonel Brandon, pushed this production below my expectations. Part of this can be attributed to the loose adaptation of dialogue by screenwriter Alexander Baron and partly to Austen herself, who chose to craft male roles that are weaker than the two female ones. Yes. Not everything in Sense and Sensibility is balanced, and that was Austen’s point. Even though this imperfection is one of its charms, it can be unsatisfying. Here is the description of the production by the distributor. Continue reading “Sense and Sensibility Movie (1981) – A Review” →

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Sense and Sensibility Movie (1971) – A Review

I was quite excited when the news hit the blogosphere that the elusive 1971 mini-series of Jane Austen’s Sense and Sensibility was being resurrected from the vaults and reissued by the BBC. It originally aired in the UK, but had never jumped the pond until this re-issue. Now, I think I know why.

If you step back in time with me to the early days of the BBC and Masterpiece Theater television adaptations of literary classics and biographies you might recall such gems as The Six Wives of Henry VIII , Poldark or I Claudius. The scripts and actors were superior, but by today’s standards of movie making they appear a bit stage-playish and stilted. They are after all close to forty years old. If you can get past the slower pacing, video film recording quality and classically trained actors playing to the back row of a theater, they are well worth your entertainment time. This adaptation of Sense and Sensibility is from the same era, and suffers from some of the same stiffness and sluggish pacing. However, these faults could easily have been overlooked if the script had not been so severely altered from the original masterpiece. The plot line of Austen’s story remains, but unfortunately very, very little of her unique language is included. Newer adaptations by Emma Thompson in 1995 and Andrew Davies in 2008 do include Austen’s words, or a variation of them, and we have come to expect them. Continue reading “Sense and Sensibility Movie (1971) – A Review” →

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Sense and Sensibility Moment

Closeup of an Illustration by C.E. Brock, Sense and Sensibility, J.M. Dent & Sons, London (1908)Mrs. Jennings was a widow, with an ample jointure. She had only two daughters, both of whom she had lived to see respectably married, and she had now therefore nothing to do but marry all the rest of the world. In the promotion of this object, she was zealously active, as far as her ability reached, and missed no opportunity of projecting weddings among all the young people of her acquaintance. She was remarkably quick in the discovery of attachments, and had enjoyed the advantage of raising the blushes and the vanity of many a young lady by insinuations of her power over such a young man; and this kind of discernment enabled her soon after her arrival at Barton decisively to pronounce that Colonel Brandon was very much in love with Marianne Dashwood. She rather suspected it to be so, on the very first evening of their being together, from his listening so attentively while she sang to them; and when the visit was returned by the Middletons dining at the cottage, the fact was ascertained by his listening to her again. It must be so. She was perfectly convinced of it. It would be an excellent match, for he was rich and she was handsome. Mrs. Jennings had been anxious to see Colonel Brandon well married, ever since her connection with Sir John first brought him to her knowledge; and she was always anxious to get a good husband for every pretty girl. The Narrator, Sense and Sensibility, Chapter 8

This 1908 watercolor illustration by Charles E. Brock of Mrs. Jennings making Marianne Dashwood blush has always seemed contrary to my vision of her true personality. If she is indeed blushing, it is not from embarrassment of Mrs. Jennings matchmaking, but from aggravation. She is just too much of a lady to look her in the eye and tell her where to go.

I may be transferring my 21st century sensibilities into the stew, but I have always thought of Marianne as a bit of feminist. She could easily have been a suffragette in the 1890’s or burned her bra in the 1960’s and been proud of it. Her mother and sister Elinor may not approve of her objections to Mrs. Jennings well intended conclusion that she and Colonel Brandon are an excellent match because “he is rich and she is handsome”, but hello, she is 16 and he is 35! I agree with her concerns. He is over the hill in her young romantic idealistic eyes. Jane Austen is of course driving the point through her family that she has no money and should be grateful for such an alliance. Marianne wants love, not a marriage of convenience, a theme that runs through each of Austen’s novels, and her own life.

In the end, her pursuit of love over social stricture breaks her of her spirit – her romantic ideals. After Willoughby’s rejection, she succumbs to the socially appropriate match – Colonel Brandon. Her sister Elinor who always acted within propriety lucks out and is rewarded by marrying the man that she loves. We are happy for her, but not for Marianne who wanted more and settled for less. If Sense and Sensibility was intended as a moral fable for young ladies lacking sensibility, social sense is also a cruel task master.

*Illustration by Charles E. Brock, Sense and Sensibility, J.M. Dent & Sons, London (1908)

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Jane Austen Illustrators: Heather Sleightholm

“It is very pretty,” said Mr. Woodhouse.”So prettily done! Just as your drawings always are, my dear. I do not know any body who draws so well as you do. The only thing I do not thoroughly like is, that she seems to be sitting out of doors, with only a little shawl over her shoulders – and it makes one think she must catch cold.” Mr. Woodhouse, Emma, Chapter 6

Folk artist Heather Sleightholm of Audrey Eclectic (Folk Art) in Oklahoma knew from a very young age that she was destined to be an artist when she sold painted rocks in her mom’s garage sales. Later, she would branch out and scavenge nearby home construction sites and take home the bits of wood to paint in the garage with her mom. Twenty years later after the birth of her daughter she left her full time job as an assistant editor and writer for a daily newspaper and turned her passion for art into a thriving cottage business in 2007 inspired by whimsical folk art and Jane Austen.

I started my little art business, Audrey Eclectic, in October 2007 and began selling mixed media folk art online and in local shops shortly thereafter. My style is basically a mix of new collage techniques with traditional American-style folk art. This business has turned out to be such a blessing and a great way to feel inspired and motivated to explore art. My daughter is also a huge inspiration to me, and I don’t think my art would be what it is now without her. She is, of course, the best thing I’ve ever made!

Wedding portraits of the Brandon’s and the Darcy’s

Recently she was commissioned to paint two wedding portraits of Jane Austen characters, the Brandon’s from Sense and Sensibility and the Darcy’s from Pride and Prejudice. I think she has truly captured the essence of both of Jane Austen’s characters in style and mood. I love the simple design and rustic technique that she used that is very indicative of early American folk art. Her inclusion of mixed media gives the works very antique yet modern result. It is amazing to know that her craft is mostly self taught.

I’ve had bits and pieces of art instruction from school. I attended art camps when I was in grade school (lots of painted popsickle sticks and puff painted t-shirts), and in high school I was admitted into the Oklahoma Summer Arts Institute. Through high school and college I took the run-of-the-mill drawing classes and some illustration courses, but I found that most of these classes didn’t really teach you how to draw, but gave you a series of assignments to complete. I’d have to say that most of what I can do as an artist just stems from repetition and trying new techniques. I love to draw people, especially faces, so I naturally gravitate toward portraits. I don’t think I’m very good at drawing animals or very linear and precise things like buildings. So I naturally gravitate toward loose and flowy and folksy art like the type I create because I think it showcases my strong points.

Collage of women, folk art panels

Heather is an Austen fan and understands her characters through reading the novels and seeing the movie adaptations. She would admit that Austen’s characters lend themselves extremely well to folk art because of her many interpretations of realistic characters that you and I would meet in every day life. Everyone knows a sharp and witty Elizabeth Bennet, or a romantic and emotional Marianne Dashwood. We can only hope to know a Mr. Darcy!

Because I love doing folk art style portraits, and all of Austen’s books are set in the historically correct time period when folk art portraits were all the rage, I thought the connection was obvious. I love the idea of placing myself before these characters to paint their wedding portrait or a family portrait. And although there have been countless movies of all of Austen’s books, I like to take it upon myself to recreate the characters to how I envision them look. I think Austen characters are also great art subjects because people have such an affinity for them. Even after nearly 200 years, people relate so well to Austen’s ladies and gentlemen, a strong sign of her extraordinary writing ability. That is another reason why I love to paint these characters, because people already feel like they have a relationship with the people in the painting, they know them and love them, what more could an artist ask for?

Portraits of Mr. Darcy and Elizabeth Bennet

In October, Heather will be participating in the artsy collective show Indie Emporium in Tulsa, Oklahoma where she will be selling many original works of art. The show takes place October 10-11 and will also feature her paintings displayed in the show gallery. You can visit her Audrey Eclectic web site to view additional examples of her art and purchase online at the Audrey Eclectic Etsy store. Drop Heather a line at audreyecletic at gmail dot com and tell her how much you enjoyed her beautiful work, or place an order for a commission of your favorite Austen characters.

Collage Hollowed Hills Celestine

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Jane Austen Illustrators: Imagining Sense and Sensibility

Illustration by William Greatbatch, Sense and Sensibility, (1833)

“Four years you have been engaged?” said she with a firm voice.

“Yes; and Heaven knows how much longer we may have to wait. Poor Edward! It puts him quite out of heart.” Then taking a small miniature from her pocket, she added, “To prevent the possibility of mistake, be so good as to look at this face. It does not do him justice to be sure, but yet I think you cannot be deceived as to the person it was drew of. — I have had it above these three years.”

She put it into her hands as she spoke, and when Elinor saw the painting, whatever other doubts her fear of a too hasty decision, or her wish of detecting falsehood might suffer to linger in her mind, she could have none of its being Edward’s face. She returned it almost instantly, acknowledging the likeness. Lucy Steele & Elinor Dashwood, Sense and Sensibility, Chapter 22 Continue reading “Jane Austen Illustrators: Imagining Sense and Sensibility” →

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A Preview of Sense and Sensibility (2008) on Masterpiece Classic PBS

“I am afraid,” replied Elinor, “that the pleasantness of an employment does not always evince its propriety.” 

“On the contrary, nothing can be a stronger proof of it, Elinor; for if there had been any real impropriety in what I did, I should have been sensible of it at the time, for we always know when we are acting wrong, and with such a conviction I could have had no pleasure.” Elinor and Marianne Dashwood, Sense and Sensibility, Chapter 13

Some say that Jane Austen’s novel Sense and Sensibility is her darkest, dealing with the struggle of the principles of common sense against free sensibility, the English inheritance laws of stifling primogeniture and it’s crushing affect on the female line, and the ever-present question of marrying for love, or money? Continue reading “A Preview of Sense and Sensibility (2008) on Masterpiece Classic PBS” →

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Parting injuction

Illustration by Chris Hammond, “Marianne…walked slowly upstairs”, Sense & Sensibility, Chapter 46, (1899)INJUNCTION

As soon as they entered the house, Marianne with a kiss of gratitude, and these two words just articulate through her tears, “Tell mama,” withdrew from her sister and walked slowly up stairs. Elinor would not attempt to disturb a solitude so reasonable as what she now sought; and with a mind anxiously pre-arranging its result, and a resolution of reviving the subject again, should Marianne fail to do it, she turned into the parlour to fulfil her parting injunction.The Narrator on Elinor Dashwood, Sense & Sensibility, Chapter 46

This chapter is such a turning point in the novel for Marianne Dashwood. She has survived the shock of John Willoughby’s rejection and it’s subsequent debilitating illness, and has passed within a very short time from a romantically impulsive young woman into self-imposed regulated reserve, “checked by religion, by reason, (and) by constant employment.”  

My heart aches for her. That hollow empty feeling of an irreconcilable loss of a first love. Nothing can match it. Nothing.

Some say that Jane Austen never experienced the loss of a true love. I find that hard to believe. How could she have written such an emotionally wrenching character as Marianne Dashwood who experiences the heights and depths of love, without experiencing it herself? This can not be imitated. Any thoughts? 

*Illustration by Chris Hammond, “Marianne with a kiss of gratitude”, page 348, Sense & Sensibility, published by George Allen, London (1899)  

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No conscience

Illustration of Marianne & Elinor Dashwood, Cover of Sense & Sensibility, Books on TapeCONSCIENCE

“A man who has nothing to do with his own time has no conscience in his intrusion on that of others.” Marianne Dashwood on Colonel Brandon, Sense & Sensibility, Chapter 31

This is a profound statement from a young lady who herself, has nothing to do with her own time! Isn’t this like calling the kettle black, or … throwing stones when you live in a glass house? Hmm?

The British Gentry had time at their disposal. If you had an estate such as Colonel Brandon’s Delford that earned 2000 pounds a year, you had the means to be a gentleman that could schedule his own time to his liking. Now, Marianne is another situation. After the death of their father and the transfer of his estate to their half brother John Dashwood, she and her sister Elinor are impoverished, and are at the mercy of time. They must marry well, and quickly.

I am puzzled by time in Jane Austen’s novels. Sense & Sensibility was written in the late 1790’s, but was not successfully published until 1811. I may have entirely missed this nuance, but how does one know in which era the novel is set? Late 1790’s or 1811? That is a 15 year time frame. Should we assume that it is contemporary to when it was published?

I think that others may be confused also, because many of my illustrated editions contain artist’s conceptions of characters that place them in context, and include clothing and furnishing of the time. Some scenes appear late Georgian, and others are Regency. To complicate matters further, some are Victorian!

So I went on an Internet hunt and Googled “Sense and Sensibility” + “time frame” and was fortunate after a bit of digging to find an answer on Austen scholar Ellen Moody’s web site. She had investigated the exact subject and wrote a paper called A Calendar for Sense and Sensibility; – – and after wading through all of her expert scholarly investigation, I discovered the bottom line…

1799 September. “Two years” after Marianne had declared Colonel Brandon to be too old to marry, she marries him. She is 19, Brandon 37.

So the novel begins in 1797! Phew. But that does not explain why different artists have illustrated the characters in fashions from the 1790’s to the 1860’s! Well, that is another story!

*Illustration from the cover of Sense & Sensibility, published by Books on Tape, circa 2000 showing Marianne and Elinor Dashwood in mid Victorian attire.

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Cold insipidity

Illustration of an Evening Dress from Ackermann’s Repository of 1817INSIPIDITY

There was nothing in any of the party which could recommend them as companions to the Dashwoods; but the cold insipidity of Lady Middleton was so particularly repulsive, that in comparison of it the gravity of Colonel Brandon, and even the boisterous mirth of Sir John and his mother-in-law, was interesting. Lady Middleton seemed to be roused to enjoyment only by the entrance of her four noisy children after dinner, who pulled her about, tore her clothes, and put an end to every kind of discourse except what related to themselves. The Narrator on Lady Middleton, Sense & Sensibility, Chapter 7

I can not abide an insipid snob, and Lady Middleton’s cold and removed manner certainly qualifies her in ever measure on that point. Jane Austen paints a florid picture of her personality, “Lady Middleton piqued herself upon the elegance of her table, and of all her domestic arrangements; and from this kind of vanity was her greatest enjoyment in any of their parties.” Her true nature is further revealed when after her marriage she “celebrated that event by giving up music, although by her mother’s account she had played extremely well, and by her own was very fond of it.” Can one assume that she was pressed into playing to attract a husband of good fortune, and once her objective had been attained, had no further use of it?

I am both annoyed and amused by her elegant facade. Is she a clever calculating woman, or just insipid and ignorant? Author Rachel Lawrence thinks she is one of Jane Austen’s Dumb but Elegant Ladies. 

“Lady Middleton is quieter than her gossiping mother, but her reserve is “a mere calmness of manner with which sense had nothing to do.” She prefers the company of the Steele sisters, who flatter her and fuss over her children, to the company of Elinor and Marianne, who do not. The Dashwoods, with their interest in books and music and art, are a bit of a threat to her elegant dumbness.”

She may very well be dumb, but it serves her purpose well. Need further enlightenment on the nuances of those annoyingly irksome ignorant insipid snobs in Jane Austen’s novels? You can read the entire article on-line from the Northern California Region of JASNA.

*Illustration from Ackermann’s Repository, “Evening Dress” 1817 

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Exquisite enjoyment

Illustration by Hugh Thomson, Sense & Sensibility, Chapter 10EXQUISITE

His society became gradually her most exquisite enjoyment. They read, they talked, they sang together; his musical talents were considerable; and he read with all the sensibility and spirit which Edward had unfortunately wanted. The Narrator on Mr. Willoughby, Sense & Sensibility, Chapter 10

From first appearances, John Willoughby is a gentleman whose ardent attentions to Marianne Dashwood are only equaled by her own imprudent enthusiasm. Her sister Elinor shows concern. Their mother does not.

Those first meetings in a new romantic relationship can be so heady. That intoxicating spark of mutual attraction. You share your life stories, your interests, and your ideals with the anticipation of a lasting connection. Sigh … Marriane and Willoughby are at that point when everything is all smiles, laughs and hope.

Like Elinor, I am cautiously on alert. They have so much in common and converse with such ease I should be happy for them, but I am concerned for Marriane’s exquisite enjoyment!  Are Willoughby’s intentions sincere in wooing an innocent lass, or is he just a cad, a libertine, a rake in disguise? Is Jane Austen setting us up for a fine fall?

To spot a cad, one must be able to recognize one. According to UK news reporter John Walsh The Cad Rides Again, and Jane Austen’s characters Willoughby and Wickkam rank among the best in English literature.

“Jane Austen’s cads are also classics of the type, polished charmers, habitués of pump room and ballroom until the moment comes when they elope with a younger sister (like Wickham in Pride and Prejudice) or leg it to London to marry an heiress (like Willoughby in Sense and Sensibility).

The trouble is, of course, that we secretly admire their bad behaviour. Without Wickham and Willoughby, the Austen novels would be studies in propriety rather than warnings of social ruin.”

Too true!

*Illustration by Hugh Thomson, “they sang together” page 37, Sense & Sensibility, published by Macmillan & Co, London (1937) 

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