Quoting Austen
Welcome to Quoting Austen! I am a huge Austen fan and look forward to sharing my favorite Austen quotes. I hope you will submit your favorite quotes as well!

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— This quote really stuck with me from Sense and Sensibility

Whatever his pursuits, his eagerness in them should know no moderation, and leave him no sense of fatigue -Jane Austen from Sense and Sensibility

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divinethedivine: “Give me an occupation Miss Dashwood, or I shall run mad.” – The physically emotional Colonel Brandon —- In its effort to expand the characterization of Colonel Brandon, the 1995 film adaptation of Sense and Sensibility includes an array of added moments that characterize his position in the narrative.  But more importantly, the film includes moments of action and speech that grant the viewer an idea of Brandon’s internal perspective that is denied in the novel.  One such moment utilized in the internal exploration of Brandon’s character is a short display of masculine emotion to express the character’s anxiety over an increasingly ill Marianne.  The scene show’s him briefly alone, highlighting how the character nearly staggers around the room and holding on to the paneling for physical and perhaps emotional support.  His expression translates into a character consumed with anxiety. After this brief moment alone, Brandon’s acute agitation is witnessed by Elinor, to whom he turns immediately upon her exiting Marianne’s sick chamber in order to ask for something to do.  Her initial kind dismissal of the offer is soon after silenced when Brandon begs “Give me an occupation, Miss Dashwood, or I shall run mad” (E. Thompson, Screenplay and Diaries 181).  Brandon aims to disguise and subdue his acute emotion by seeking some action that would allow him to repress the increasingly apparent anxiety for Marianne’s safety, which is particularly noted by Elinor.  His attire also manifests this emotional state through disheveled clothing and a loosened cravat, elements that also indicate Brandon’s suppressed sexuality and the role that plays in his emotional status. But Brandon’s increased presence and characterization this scene is not simply an expansion of his character through the demonstration of internal thoughts and feelings in a physical form.  More importantly, this scene specifically illustrates not only enhanced exposures, but also full alterations of Brandon’s characteristics as they are defined in the novel.  The same task of fetching Mrs. Dashwood is put to Brandon in both the novel and the film, but the way in which Brandon reacts to such a situation and task are almost entirely opposite in the novel and in the film.  In the novel, Brandon reacts to Elinor’s request “with all the firmness of a collected mind” regardless of whatever kind of emotion he could be focusing on (Austen, Sense and Sensibility 291).  When this same task is adapted into the film, Brandon appears withdrawn, seeming on the verge of a nervous breakdown, or as Thompson’s screenplay describes him, “dangerously quiet”  (E. Thompson, Screenplay and Diaries 181).  In this manner, the adaptation’s Brandon becomes a wholly new character, motivated his own emotions and the concern for Marianne that creates them, thus creating a wholly new character meant to fulfill the expectational text of the ideal Austen hero. Despite the film’s efforts to truthfully expand on Brandon’s characterization to reveal his emotional state, the adaptation is only able to fulfill the expectational text of the ideal Austen heroes by elevating the importance of Brandon’s emotional turmoil as both an essential part of his character and as his motivation for action.
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divinethedivine: “I enjoy this work.  A man can relieve his feelings.” – Edward seeks an outlet for expressing his unspoken feelings for Elinor —- In order to comply with the established expectational text of depicting rounded, well developed male characters, the 2008 miniseries adaptation of Sense and Sensibility distinguishes itself from the approach of the 1995 film adaptation.  Rather than explore male characterization chiefly through male characters’ reactions with the female protagonists, the miniseries adaptation adds in multiple examples of the male characters working through their own feelings in privacy or exploring their interactions with other male characters that may or may not be implied in the novel. In this miniseries adaptation, each moment where Edward appears in the original novel is also included as a scene in the adaptation, including his visit to the Dashwood women at Barton Cottage.  For the entirety of his short stay, Edward seems agitated by something, his words and actions inhibited by anxiety and a sense of distance.  This mental preoccupation is later augmented by a moment in which he chooses to do a servant’s task:  chopping firewood. This completely fabricated scene is added in to provide a wordless outlet for Edward to seek a release. Through this scene, this miniseries adaptation gives this uncommunicative character a way to communicate—through his body. Elinor finds him outside, chopping wood with his shirt entirely soaked through, entirely confused by his behavior.  When their short conversation leads to Elinor’s indirect mention of her family’s financial circumstances, Edward begins to reply, almost involuntarily, with  “Yes, but if only—” before his tone wavers with emotion and he ends his own statement (Sense and Sensibility 2008).  Edward’s vacant personality becomes charged and complex by adding in both physicality and emotion through wordless action, creating the idea of his vacant demeanor being instead a mask for dealing with this internal anguish and regret. Just as with Brandon’s increased presence and characterization in the 1995 film adaptation, the 2008 Edward is not only given more characterization and exposure to his feelings and thoughts through physicality but is also altered in essentials to comply with the expectational text that constructs the image of the ideal Austen hero.  As he is the man whom Elinor loves and marries, the viewing audience expects Edward to fill the role of the typical Austen hero as a man of action.  In an attempt to both comply with the adapational expectations of expanding the characterization of the male figures and additionally fulfill the expectational text of depicting an ideal Austen hero, the wood-chopping scene of the 2008 adaptation attempts to associate the highly masculine activity with Edward’s own particular style of emotional repression.  The novel’s Edward is repeatedly described as shy, poorly spoken, and diffident. Due to his highly infrequent presence in the novel, Edward at times seems to be nearly a nonentity.  The wood-chopping scene provides a physically assertive way for Edward to display his emotional repression without requiring his unassertive character to take risks.  When Elinor attempts to figure out what is troubling him, he responds almost angrily by stating “Nothing.  Nothing I can speak of” (Sense and Sensibility 2008).  Additionally, shooting this scene in the rain adds in the element of repressed sexuality associated with water in Austen adaptations, depicting Edward in a soaked white shirt precisely reminiscent of the famous Darcy lake dive of 1995.  By creating this purely visual, extra-textual connection between Edward and Darcy, the adaptation automatically associates the two heroes, making the connection between the less than ideal Austen hero, Edward, into Darcy, who is arguably most famous representative of Austen’s ideal heroes in popular culture.  Even as this scene aims to utilize physicality and expression of emotion as a way to bring out the nuances of Edward, the physical activity of wood-chopping in another wet shirt represents a conscious alteration made in order to fulfill the expectational text of the ideal Austen hero.
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“Whatever his pursuits, his eagerness in them should know no moderation, and leave him no sense of fatigue.” Quote submitted by: to-live-in-pajamas
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to-live-in-pajamas: Watching Sense and Sensibility Seriously. Probably one of my top 5 most hated Austen characters.
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Packing up my room and found some of my JA movie collection. My grandma says I should sell some of these. Little does she know, in another box I have the rest of my collection. I even have multiple copies of the same movie. Don’t even get her started on my books. Hoarder fo’ lyfe.
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Sense and Sensibility (2008)
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Sense and Sensibility (2008)
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— Sense and Sensibility book giveaway!

quotingausten:

To apologize for my lack of posts and responses, I will be giving away a copy of Sense and Sensibility (paperback). Just reblog this post if you’re interested and I’ll put your name into a lottery!

LAST DAY IS SUNDAY!

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