Literature Sense And Sensibility Discussion

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03:01:19 PM Mar 2nd 2018
edited by XFllo
Removed from the page:

  • Informed Attribute/Designated Love Interest: There are only a very few instances of Elinor and Edward's relationship being shown to the reader before it's explained that Elinor has fallen in love with him. In fact, he isn't even introduced on the page before the narrative is explaining that Elinor's mother has observed an attachment growing between her daughter and the young man, and there's never a very concise explanation for why Elinor falls for him. In truth, the novel does a better job of showing the reader her relationship with Colonel Brandon, which makes it somewhat more understandable why a lot of the other characters ship the two of them. Both major film versions go to great lengths to set up a more believable romance between Edward and Elinor.

Having read the definition of DLI, I disagree that it is an example of the trope.

From the definition:

A character in a story who, despite being presented as the One True Love of a central character, doesn't seem to have much of a relationship with said character at all.

Elinor and Edward's relationship is not overt because there are other tropes at play: Twice Shy, The Quiet One, Master of the Mixed Message etc.

The catalyst for the relationship appeared off-screen before the series began, and save for maybe an occasional over-the-top gesture, never really appears to manifest.

They get to know each other on-screen, and some of their interaction is shown. Elinor talks about him with her family. It does manifest, but it is very subtle at the beginning of the story.

This isn't a matter of their love being subtle it's more like they just kind of know each other but since he's a dude and she's a chick, they must have some sort of romantic attachment to each other because it's a law of the universe that opposite-sex-characters are always involved in romantic entanglements.

This doesn't fit at all. They are more an example of Birds of a Feather. Two people who met, were at each other's company and hit it off. He was the only single guy at the scene at that moment, but Elinor was not the only single gal.

Ultimately, this is a romance of necessity, not in the literal sense, but because of the assumption that the story needs a romantic plot or sub-plot to move forward.

This could fit. The author wanted to have a romantic plot in her book. It's Jane Austen after all.

Other characters will usually acknowledge these relationships, but not say much else about them.

Oh, they do. Others say a lot about them. Her family is pleased, his family is horrified and try to deny any attachment, and because of that, her family is insulted.

Sometimes one may wonder What Does She See in Him?, though this is relatively rare.

They are both perfectly rounded characters, and both are worthy, kind people. Nothing too wonderful they fell in love.

There's usually some sort of plot or setting-related reason why a character needs a significant other at this point in time.

They are even not officially together, not when they first meet, not when he visits them at their new home, not when they meet again in London. They have not even told each other anout their feelings. They just both suffer in silence.

It would be bad form for a character to openly question what they even have in common.

Marianne actually wonders if Edward is good enough for her sister and she is sorry he's not more striking, but it's because she loves and admires her sister so very much, and her taste in men is obviously different. Notably, she likes Edward too and appreciates his good qualities.

A Shipper on Deck will have no issues with getting people together despite lack of any real logic behind it, and in extremes cases, entire casts may get on this bandwagon.

There is lots of logic in the relationship. Some people support their mutual attachment (Elinor's mother and sisters, because Marry for Love is a good thing for them) and Mrs Jennings (she may appear like the silly matchmaker, true). On the other hand, some poeple oppose the relationship (his greedy sister and his Rich Bitch mother as they want him to marry someone rich and blue blood if possible).

This trope most commonly appears in action-adventure stories where the writer, having little experience writing actual romances, doesn't have any idea how to do it subtly.

Jane Austen is quite the expert in writing romance. Granted, S&S is an early novel, but the romance is actually very believable and feels real.

Alternately, he may just not want to since romantic Character Development drastically cuts down on the time available for random explosions.

No random explosions in this lovely book. :-) Though I might acknowledge that Elinor and Edward do not change much throughout the book because both are mature enough at the beginning.

03:03:18 AM Jan 14th 2014
"The Vamp: Fanny Dashwood. The woman is a work of art. She talks her husband out of fulfilling his father's Last Request to Take Care of the Kids. Then she treats them with all sorts of coldness and contempt because they're living in what is now her house. Then she resents them for taking their own staff with them when they move out. She even resents the fact that they take their own belongings with them!"

How does this fit The Vamp? Fanny is never even played by an attractive actress?
08:34:19 AM Sep 16th 2012
re: potholing the It's All About Me example to Status Quo Is God

Status Quo Is God is about how, in a series, no significant changes ever happen (or if they do happen, don't last) so that the series premise can stay the same from episode to episode.

Sense and Sensibility is not a series. It's a single work, in which significant changes occur between the beginning and the end, and there are no Snap Backs or Reset Buttons, because there is no series premise that needs to be preserved.

I honestly cannot see how anybody could consider Sense and Sensibility an example of Status Quo Is God, let alone a "perfect example".
09:03:28 PM Sep 16th 2012
Status Quo Is God is about a series, and Sense and Sensibility is not a series? That was your objection? It doesn't need to be a series. Status Quo Is God has an example section full of examples from film, literature and other media.

It's not really an issue to me, so we'll keep it that way if you prefer. But at least read the pages you're objecting to before you edit them out.
10:33:12 PM Sep 16th 2012
Examples from film series, like Star Trek and Godzilla, and literary series, like The Wheel of Time and the Red Dwarf novels.

I have read the trope page. I'm really beginning to wonder if you have.
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