What differentiates them, and gives this extraordinary book its complexity and brilliance, is the way each expresses her suffering: Marianne–young, impetuous, ardent–falls into paroxysms of grief when she is rejected by the dashing John Willoughby; while her sister, Elinor–wiser, more sensible, more self-controlled–masks her despair when it appears that Edward Ferrars is to marry the mean-spirited and cunning Lucy Steele.
All, of course, ends happily–but not until Elinor’s “sense” and Marianne’s “sensibility” have equally worked to reveal the profound emotional life that runs beneath the surface of Jane Austen’s immaculate and irresistible art.
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