A Reading of Jane Austen by Barbara Hardy

By Barbara Hardy

A analyzing of Jane Austen (first released by way of Peter Owen in 1975) has tested itself with critics and readers as a very good contribution to the turning out to be literature in this writer, jam-packed with clean and stimulating perceptions. imperative to the note is Bar

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67). The novels, like most great novels, are introspective. They succeed more realistically than any previous novels in showing an introverted passional life, at the same time being subtly self-descriptive. Jane Austen's qualities of toughness and neutrality, which are shown in her capacity to make comic and tough reflections on the passions, are fully demonstrated and tested within her characters. Elizabeth Bennet6 is engaged in the fatiguing process of thinking and re-thinking. But her epistemological essays and discoveries are parts of the progress of her feeling.

Neither Mr Bennet nor Sir Thomas Bertram is shown as a passionate man, but rather as one who has been forced to reduce and control feeling. The conventionality of the one, and the satirical self-indulgence of the The Feelings and the Passions 41 other, ought not to blind us to the cause and effect implicit in their similar emotional careers. Jane Austen makes very little explicit reference to their sexual passions, but we know them both to be very intelligent men who have married very stupid women.

Fanny looked very angry too, and her husband was all in a fright at his sister's audacity. Elinor was much more hurt by Marianne's warmth, than she had been by what produced it; but Colonel Brandon's eyes, as they were fixed on Marianne, declared that he noticed only what was amiable in it, the affectionate heart which could not bear to see a sister slighted in the smallest point. Marianne's feelings did not stop here. The cold insolence of Mrs. Ferrars's general behaviour to her sister, seemed, to her, to foretel such difficulties and distresses to Elinor, as her own wounded heart taught her to think of with horror; and urged by a strong impulse of affectionate sensibility, she moved, after a moment, to her sister's chair, and putting one arm round her neck, and one cheek close to her's, said in a low, but eager, voice, 'Dear, dear Elinor, don't mind them.

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