Annotated passages and exam response on Sense and Sensibility by Jane Austen
Annotated passages and exam response on
Sense and Sensibility
This document shows you how to develop an exam response to a given set of three
passages from Jane Austen’s Sense and Sensibility. The passages from the 2005 VCE
Literature exam are reproduced with detailed annotations, which indicate some of the
thinking and planning that should accompany your careful reading of the passages.
This is not simply a cursory re-read to remind yourself of the novel’s characters and
plot!
Following the second passage, a number of comments and questions show how
a coherent response starts to come together, arising from close attention to the
passages and from a deep knowledge of the wider text, including the main ideas and
attitudes it presents.
A sample response based on these passages follows passage 3. It includes
annotations and assessor comments.
See Chapter 7 of Insight’s Literature for Senior Students (2nd edition, 2010) for
further strategies to help you prepare for and perform well in the VCE Literature
examination.
Acknowledgement
Insight Publications thanks Penguin Books for permission to publish extracts from the
2003 Penguin Classics edition of Sense and Sensibility.
Literature for Senior Students © Insight Publications 2006
1
Annotated passages and exam response on Sense and Sensibility by Jane Austen
Passage 1
The annotations to the first passage show a close focus on language.
1.
Fanny’s gullible (and equally
selfish) husband is easily
persuaded; she subsequently adds
further justification for his
meanness.
Fanny tends to use
hyperbole – a sign of
insincerity? Shallowness?
More irony – and a recognition of
the kind of intense public
scrutiny that people’s actions
attract in the confined and
gossipy social sphere inhabited
by the characters.
Readily agrees with Fanny –
as he usually does.
Blatantly untrue, as Fanny is well
aware: the relative poverty of the
Dashwood sisters is a
considerable disadvantage in the
‘marriage market’.
The repeated affirmations
‘certainly’, ‘to be sure’, ‘that is
very true’, show their capacity
for self-delusion and selfjustification.
“Well, then, let something be done for them; but that
something need not be three thousand pounds. Consider,” she
added, “that when the money is once parted with, it can never
return. Your sisters will marry, and it will be gone for ever. If,
indeed, it could ever be restored to our poor little boy—”
“Why, to be sure,” said her husband, very gravely, “that would
make a great difference. The time may come when Harry will
regret that so large a sum was parted with. If he should have a
numerous family, for instance, it would be a very convenient
addition.”
“To be sure it would.”
“Perhaps, then, it would be better for all parties if the sum
were diminished one half.—Five hundred pounds would be a
prodigious increase to their fortunes!”
“Oh! beyond any thing great! What brother on earth would do
half so much for his sisters, even if really his sisters! And as it
is—only half blood!—But you have such a generous spirit!”
“I would not wish to do any thing mean,” he replied. “One had
rather, on such occasions, do too much than too little. No one, at
least, can think I have not done enough for them: even
themselves, they can hardly expect more.”
“There is no knowing what they may expect,” said the Lady,
“but we are not to think of their expectations: the question is,
what you can afford to do.”
“Certainly—and I think I may afford to give them five
hundred pounds a-piece. As it is, without any addition of mine,
they will each have above three thousand pounds on their
mother’s death—a very comfortable fortune for any young
woman.”
“To be sure it is: and indeed, it strikes me that they can want
no addition at all. They will have ten thousand pounds divided
amongst them. If they marry, they will be sure of doing well, and
if they do not, they may all live very comfortably together on the
interest of ten thousand pounds.”
“That is very true, and, therefore, I do not know whether, upon
the whole, it would not be more adviseable to do something for
their mother while she lives rather than for them—something of
the annuity kind I mean. My sisters would feel the good effects of
it as well as herself. A hundred a year would make them all
perfectly comfortable.”
Literature for Senior Students © Insight Publications 2006
Fanny’s assertive tone
(emphasised by Austen’s use
of italics) shows her tendency
to dominate her husband.
Disguises her greed as concern
for her child: the need for
concealment is one of the central
ideas in the text.
Flattery – appeal to his vanity.
Highly ironic, as quite the
opposite is true.
Italicised ‘they’ emphasises
Fanny’s opinion that they are
beneath her – and unworthy of
her concern – suggesting that she
is a snob.
Continues to decrease the sum he
will give them – at Fanny’s
subtle prompting – and continues
to justify himself by pretending
to think of his sisters’ welfare.
Continual references to specific
sums of money – financial matters
are of central importance to these
characters, and the role that money
plays in one’s life is a central
concern of the text.
The overall impression we gain is of
these two characters’ vanity and
selfishness, revealed through their
dialogue. Austen’s irony throughout
the passage makes us aware of a
comic disjunction between what is
said by the characters (about their
concern for the Dashwood sisters)
and what is revealed about the real
motives of John and Fanny.
2
Annotated passages and exam response on Sense and Sensibility by Jane Austen
Passage 2
The annotations for passage 2 focus on aspects of character, language features and the
writer’s views and values.
Narrative perspective with
Elinor: she is Austen’s ‘voice’
in the novel. Shows Elinor’s
insight into the personalities
and motivations of both Mrs
Ferrars and Lucy.
Note the length of this sentence,
which shows Elinor’s thoughtful
mind is examining the situation
carefully. Characteristically, Elinor
resorts to inner reflection rather
than outward expression. Contrast
the relative silence of Elinor in this
passage with the thoughtless
chattering of Lucy.
Heavy irony here – it is not
‘lucky’ for poor Elinor, and it
almost seems as if there’s a
conspiracy against her.
Evidence of Lucy’s hypocrisy
– Elinor is her rival, not her
friend, as Elinor and Lucy
both well know.
Elinor is restrained – replying
honestly but qualifying her
agreement: ‘to you’.
The fact that Lucy also thinks
that the dreadful Fanny is
sweet and affable shows how
determined she is to be liked
by Edward’s family – and how
ill-equipped she is to judge
genuine ‘sweetness and
affability’.
Lucy is relentless in making
Elinor feel uncomfortable –
again showing her ruthless and
unfeeling nature. It is no
surprise that she later switches
her ‘affections’ from Edward
to his wealthier and very
unpleasant brother.
Draws attention to Elinor’s
apparent discomfort – an
unkind comment from a
disagreeable character,
disguised as a concern for
Elinor’s welfare.
Elinor’s blunt response
signals her refusal to play
Lucy’s game.
2.
She wondered that Lucy’s spirits could be so very much
elevated by the civility of Mrs. Ferrars;—that her interest and her
vanity should so very much blind her, as to make the attention
which seemed only paid her because she was not Elinor, appear a
compliment to herself—or to allow her to derive encouragement
from a preference only given her, because her real situation was
unknown. But that it was so, had not only been declared by
Lucy’s eyes at the time, but was declared over again the next
morning more openly, for at her particular desire, Lady
Middleton set her down in Berkeley-street on the chance of
seeing Elinor alone, to tell her how happy she was.
The chance proved a lucky one, for a message from Mrs.
Palmer soon after she arrived, carried Mrs. Jennings away.
“My dear friend,” cried Lucy as soon as they were by
themselves, “I come to talk to you of my happiness. Could any
thing be so flattering as Mrs. Ferrars’s way of treating me
yesterday? So exceeding affable as she was!—You know how I
dreaded the thoughts of seeing her;—but the very moment I was
introduced, there was such an affability in her behaviour as really
should seem to say, she had quite took a fancy to me. Now was
not it so?—You saw it all; and was not you quite struck with it?”
“She was certainly very civil to you.”
“Civil!—Did you see nothing but only civility?—I saw a vast
deal more. Such kindness as fell to the share of nobody but me!—
No pride, no hauteur, and your sister just the same—All
sweetness and affability!”
Elinor wished to talk of something else, but Lucy still
pressed her to own that she had reason for her happiness; and
Elinor was obliged to go on.—
“Undoubtedly, if they had known your engagement,” said she,
“nothing could be more flattering than their treatment of you;—
but as that was not the case”——
“I guessed you would say so”—replied Lucy quickly—“but
there was no reason in the world why Mrs. Ferrars should seem to
like me, if she did not, and her liking me is every thing. You
shan’t talk me out of my satisfaction. I am sure it will all end
well, and there will be no difficulties at all, to what I used to
think. Mrs. Ferrars is a charming woman, and so is your sister.
They are both delightful women indeed!—I wonder I should
never hear you say how agreeable Mrs. Dashwood was!”
To this, Elinor had no answer to make, and did not attempt
any.
“Are you ill, Miss Dashwood?—you seem low—you don’t
speak; —sure, you an’t well.”
“I never was in better health.”
Literature for Senior Students © Insight Publications 2006
Lucy’s (deliberate?) blindness here
shows how determined she is to be
accepted by Edward’s family – and
to triumph over her rival for his
affections. The idea of concealment
is relevant here: what is Lucy
(deliberately?) concealing from
herself (and why)?
Readers are also aware of Mrs
Ferrars’ real motives as we are
acquainted with her snobbish,
disagreeable ways. Irony here is
effective in making Lucy vulnerable –
despite the power she seems to hold
over Elinor at this moment.
Lucy is not only obstinate in
her refusal to see through Mrs
Ferrars – she is calculating in
her unkindness to Elinor,
whose fondness for Edward
she is well aware of.
Lucy’s occasional grammatical
errors betray a lack of education.
This in itself is not a major flaw, but
it suggests a more serious lack of
refinement and sensitivity. This is
also evident in her selfish lack of
consideration for Elinor, whose
discomfort Lucy enjoys as she
dwells on the details of Mrs Ferrars’
‘affability’. In Austen’s eyes, Lucy
is an unsuitable wife for Edward –
but not for his shallow, self-seeking
brother.
This shows how calculating Lucy is
– she has planned her unkind attack
on Elinor very carefully –
anticipating Elinor’s doubts (which
she herself must share).
Shows Lucy’s determination to
achieve her ends. Links to wider
text here – to her marriage to Robert
and her sycophantic flattery of Mrs
Ferrars.
A subtle hint from Lucy here that
Fanny prefers her to Elinor. Notice
features of Lucy’s dialogue: she
speaks in short, simple sentences
(contrasting with Elinor’s more
complex thoughts).
Elinor is not willing to compromise
her integrity by making hypocritical
comments about Fanny’s affability –
and she is too well bred to voice her
honest opinion. Consider the role of
concealment in relation to Elinor and
Lucy’s behaviour – the benefits and
disadvantages?
3
Annotated passages and exam response on Sense and Sensibility by Jane Austen
Remarks on analysing passage 2
The (often unwitting) exposure of characters’ inner selves through their language is an
excellent starting point for your analysis. However, you will need to go further than
simply making this observation, by showing how revelations about character lead us
to think about the ‘bigger ideas’ in the text.
The annotations include observations about the characters and their motivations.
Remember, though, that the characters are not ‘real’ people and that their thoughts,
feelings, actions and speeches are really showing us features of the society being
depicted by the novelist. A ‘complex’ interpretation will always move from an
understanding of character to a more abstract understanding of the writer’s
representation of human nature and society.
This section discusses some strategies for further developing your thinking
What do you know
about some of the
text’s major
concerns?
about passage 2.
Main ideas in the text
Briefly reconnect with some of the main ideas explored by the text:
•
balance is needed between reason and emotion (that is, between the rational
and the romantic disposition)
•
tensions between public actions and private opinions
•
tensions between individuals and the values of society
•
balance needed between individual freedom and social cohesion
•
concealment often necessary within a small social sphere – can be
BE CAREFUL!
Don’t ‘close down’
your reading by
limiting your
thinking about the
passage to what you
already know about
the text. Be
prepared to include
‘flashes of insight’
as you work closely
with the language of
the passages.
Look for a
deeper
understanding
of the text by
noticing
interesting links
between the
passages.
associated with either tact and decorum (Elinor) or hypocrisy and deceit
(Lucy, Willoughby, Fanny)
•
women’s lives (and men’s?) circumscribed by rigidly enforced patriarchal
values.
Main ideas in the passage
What are the main ideas in the second passage?
Literature for Senior Students © Insight Publications 2006
Look inside the passage
for some of the text’s
major concerns.
4
Annotated passages and exam response on Sense and Sensibility by Jane Austen
•
Concealment and openness are important in different ways to different
characters.
Think about links to
the wider text – and
more specifically, to
the other two set
passages.
•
Money is important to Lucy (and to Fanny, John and Willoughby).
•
A ‘suitable’ marriage is the way that most women gain financial security.
•
Women sometimes compete for the affections of eligible men.
•
Unpleasant ‘truths’ (greed, selfishness, vanity, spite) must be concealed – or
disguised and made to appear acceptable.
Links between characters and values
Which characters embody the ideas you have identified? Do these ideas reflect the
Make
connections
with the
text’s
views and
values.
values of the society being depicted in the novel? Or do they suggest that such values
ought to be questioned and other values should be given more weight?
•
Many characters value money very highly – including Mrs Ferrars, Robert
Ferrars, Willoughby and Lucy Steele.
•
Elinor and Marianne realise the necessity of obtaining financial security –
but not at the expense of personal integrity.
Values questioned by the text
Does the author question or even condemn particular values? How? Why? Some
Recognise
that
characters
embody the
writer’s
ideas.
examples are:
•
Austen questions the excessive preoccupation with money of those who live
in considerable material comfort and financial security. She does so by
creating unpleasant characters who are too concerned with money and what
it represents to them: power, social position and a sense of privilege and
superiority.
Links with
passage 3.
•
Austen condemns marriage for financial gain – particularly through the
unhappy marriage of Willoughby.
•
The text recognises that some form of financial security is essential – a
marriage based solely on romantic notions of ‘true love’ may not be wise
and, ultimately, may not be happy.
Literature for Senior Students © Insight Publications 2006
5
Annotated passages and exam response on Sense and Sensibility by Jane Austen
Other qualities or attributes condemned by Austen (perhaps also evident in passage 2)
include hypocrisy, flattery, weakness, disloyalty, greed, snobbery, vanity and
Links with
passage 1.
indiscretion. Characters who exhibit these qualities (and who are also unpleasant) are
John and Fanny, Mrs Ferrars, Robert, and Lady Middleton.
Values endorsed by the text
What qualities does Austen value?
•
Be aware of how
readers are
positioned by
likable and
unlikable
characters to
adopt (or at least
feel sympathetic
to) the author’s
views and
values.
These could include honesty, intelligence, wit, compassion, tact, politeness,
morality and integrity.
•
Austen invites us to admire characters who embody some of these qualities,
such as Elinor, Colonel Brandon, Edward and perhaps (to a lesser extent)
Marianne and Mrs (Henry) Dashwood.
Links between passages
Brief links (through character) to the other two set passages include:
•
Lucy Steele (passage 2) shows herself to be hypocritical, malicious, selfish,
envious and ill-bred; compare her with Fanny and Willoughby, and contrast
with Elinor.
•
Links between
passages 2 and 3
through
comparison and
contrast of
characters’
values.
Elinor (passage 2) shows herself to be restrained, well-bred, honest and
sensible; contrast her with Lucy – who does Austen think is the more
suitable wife for Edward?
•
Willoughby (passage 3) partially redeems himself, admitting his former
selfishness, vanity, callousness, immorality and avarice; through his
suffering, he partly atones for his treatment of Marianne. Comment on his
character development and reasons for his transformation.
•
Elinor (passage 3) reveals her capacity to be magnanimous, forgiving,
compassionate and wise. Has Elinor’s character developed? How and why?
Recognise Austen’s values and
her view that tensions between
oppositions need to be reconciled
in the interests of harmony.
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6
Annotated passages and exam response on Sense and Sensibility by Jane Austen
Passage 3
The annotations for passage 3 draw particular attention to Austen’s presentation of
views and values through characterisation and plot. They also pick up on several ideas
present in passage 2, allowing for connections to be made between the passages in
your response.
3.
Seems self-centred – but his
lengthy confession and open
admission of his selfish and
dishonourable behaviour
immediately beforehand is worth
commenting on.
Characteristic silence as she
ponders – note the length of the
sentence here and the way she
carefully considers various
aspects of his situation.
Elinor’s awareness of the way
society shapes the individual.
The importance of money
and ‘connections’ (and the
sacrifice of integrity and
happiness they often entail)
is as real for men as it is for
women in this society.
This is not simply egotism:
Willoughby realises that Elinor’s
moral values are the ones he must
adopt – and if she forgives him,
he can begin to forgive himself.
He will not, however, be
permitted by the author to live
entirely happily. His
‘punishment’ (the loss of
Marianne) is a constant reminder
of the disadvantages of marrying
solely for money.
What I felt on
hearing that your sister was dying—and dying too believing me
the greatest villain upon earth, scorning, hating me in her latest
moments—for how could I tell what horrid projects might not
have been imputed?—One person I was sure would represent me
as capable of anything—What I felt was dreadful!—My
resolution was soon made, and at eight o’clock this morning I
was in my carriage. Now you know all.”
Elinor made no answer. Her thoughts were silently fixed on
the irreparable injury which too early an independence and its
consequent habits of idleness, dissipation, and luxury, had made
in the mind, the character, the happiness, of a man who, to every
advantage of person and talents, united a disposition naturally
open and honest, and a feeling, affectionate temper. The world
had made him extravagant and vain—Extravagance and vanity
had made him cold-hearted and selfish. Vanity, while seeking its
own guilty triumph at the expence of another, had involved him
in a real attachment, which extravagance, or at least its offspring
necessity, had required to be sacrificed. Each faulty propensity in
leading him to evil, had led him likewise to punishment. The
attachment, from which against honour, against feeling, against
every better interest he had outwardly torn himself, now, when no
longer allowable, governed every thought; and the connection, for
the sake of which he had, with little scruple, left her sister to
misery, was likely to prove a source of unhappiness to himself of
a far more incurable nature. From a reverie of this kind she was
recalled at the end of some minutes by Willoughby, who, rousing
himself from a reverie at least equally painful, started up in
preparation for going, and said,
“There is no use in staying here; I must be off.”
“Are you going back to town?”
No—to Combe Magna. I have business there; from thence to
town in a day or two. Good bye.”
He held out his hand. She could not refuse to give him
her’s;—he pressed it with affection.
“And you do think something better of me than you did?”—
said he, letting it fall, and leaning against the mantle-piece as if
forgetting he was to go.
Elinor assured him that she did;—that she forgave, pitied,
wished him well—was even interested in his happiness—and
added some gentle counsel as to the behaviour most likely to
promote it.
Literature for Senior Students © Insight Publications 2006
What is being revealed about
Willoughby’s character
through his language? What
do these revelations about
character lead to in terms of
the text’s ‘bigger’ ideas about
human nature and society?
Notice that he has no further need
for concealment – indicative of
his moral regeneration.
Another long sentence – a
logical process of rational
thought – describing cause and
effect; shows Elinor’s rational
disposition. Contrast with
Willoughby’s emotional
outpouring of feeling and his
impulsive actions.
Willoughby’s ‘affection’ for
Elinor, and her ‘affection’ for
him, reconcile the oppositions
they previously represented – and
show that she can also combine
censure with forgiveness.
This seemingly small narrative
detail implies his need for
Elinor’s forgiveness and his need
for ‘support’ when she withdraws
her hand. It also suggests his
reluctance to detach himself from
Marianne.
Elinor’s fair-mindedness and
compassion are what we would
expect from an Austen heroine.
She is an exemplar who
embodies the values Austen
considers appropriate for society
as a whole.
7
Annotated passages and exam response on Sense and Sensibility by Jane Austen
Sample response
The following sample response is based on the three passages from Sense and
Sensibility analysed above. The response begins with passage 2, using it as a
springboard to the other two passages as well as to other parts of the text. Although
many good responses do begin by considering material from the first passage, not
beginning with passage 1 can sometimes help to avoid a ‘plot summary’.
Brief overview
statement – focusing on
the idea of concealment
which links the three
passages.
Direct quotes.
Link to passage 3,
and brief
discussion of
another example
of concealment/
honesty.
Awareness of ways in
which readers are
positioned by the text.
Concealment is an art practised by many of Jane Austen’s
characters: certainly, Lucy Steele and Elinor Dashwood
each have much to conceal. Lucy’s boasting of Mrs
Ferrars’s ‘affability’ is partially recounted through Elinor’s
silent ‘wonder’ at Lucy’s ‘vanity’ and ‘blind[ness]’. The long,
complex sentences describing her thoughts as she listens
to Lucy, highlight Elinor’s tendency to carefully examine
her own feelings and the actions of others before
expressing an opinion. Elinor’s thoughtfulness is
contrasted with the outspokenness of characters such as
Lucy, Marianne and Willoughby. By comparison, Elinor’s
reticence and common sense are commendable, but she
must achieve a balance between reason and emotion. Our
awareness of her pain when she has ‘no answer to make’ to
Lucy makes us realise that she is not unfeeling, but her
guardedness, which often makes her appear so, is not
always advantageous.
Yet unchecked emotions are even more damaging, as
is evident in Willoughby’s confession. His ‘naturally open
and honest’ character, so admired by both Marianne and
her mother, has been corrupted by ‘extravagance’ – with
catastrophic consequences. Despite his apparent openness,
Willoughby has selfishly concealed his past indiscretions
and his need for an advantageous marriage. It is only when
he can be completely honest with Elinor that he is no
longer perceived as ‘the greatest villain upon earth’.
Elinor’s contemplative silence is as revealing of her
character here as it is in her encounter with Lucy. After
Willoughby’s lengthy and heartfelt confession, readers are
positioned to ‘think something better’ of him, as we are
privy to Elinor’s understanding of his weakness and,
particularly, his suffering. Her ability to forgive, pity and
‘[wish] him well’ indicates her generosity of spirit.
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Connection between
sentence structure and
characterisation.
Links to wider text.
Awareness of some of the
‘bigger ideas’ – tension
between reason and emotion,
and the need for balance.
Direct quote from passage 3.
Brief contextualisation of
passage 3.
8
Annotated passages and exam response on Sense and Sensibility by Jane Austen
Brief reference
to wider text.
Focus on language
of passage,
including direct
quotes – noting
how language
reveals aspects of
character or the
author’s ideas.
Subtle link
between passages 1
and 2.
Elinor’s silence in the face of Lucy’s ‘elevated spirits’
is more complicated, as she disguises her own feelings for
Edward by resolutely disregarding Lucy’s constant
declarations of ‘happiness’ at Mrs Ferrars’s ‘kindness’.
Lucy’s inane chatter contrasts tellingly with Elinor’s
dignified silence, and emphasises Lucy’s ‘vanity’ and
vindictiveness, qualities which are rather ineffectively
concealed under the mask of ‘friendship’. It is Elinor to
whom Lucy has confided her ‘secret’ engagement, providing
herself with many opportunities to taunt her rival. Elinor’s
strong sense of moral duty – even to someone as
undeserving as Lucy – is revealed through her commitment
to keeping Lucy’s secret (even from Marianne). Elinor’s
screen paintings are an appropriate metaphor for her
discretion, but also suggest that she is perhaps sometimes
too reticent for her own good. Lucy, on the other hand, is
effusive: her dialogue is filled with superlatives – Elinor is
her ‘dear friend’; Mrs Ferrars is ‘so flattering … so
exceedingly affable’. Her tone is eager, even insistent, and
conceals an uncomfortable truth, with which Elinor is
finally forced to confront her: Lucy’s engagement to
Edward is not ‘known’. Both Elinor and Lucy know that the
‘sweetness’ and ‘civility’ of both Fanny and Mrs Ferrars is
precisely because Lucy is ‘not Elinor’. Fanny and Mrs
Ferrars partly conceal their dislike of Elinor as a suitable
wife for Edward through the pretence of fondness for
another young woman who, ironically, deceives them both.
Another character who is adept at insincerity is
Fanny Dashwood. Her true motives for disinheriting her
brother’s family are very clear to the reader, but
concealed from her weak and gullible husband. Like Lucy,
Fanny resorts to superlatives and exaggeration. Fanny’s
flattering description of her husband’s kindness as
‘beyond anything great’, and the repeated use of
exclamation marks, indicate her own awareness of her
falseness. What is being concealed from her husband here
is Fanny’s greed, which ironically is almost matched by his
own, but is unable to be openly admitted by either. Both
husband and wife disguise their avarice as concern for
their ‘poor little boy’ and the welfare of the sisters.
Austen’s use of ironic humour in this passage is effective
in condemning these characters and exposing their avarice
and self-delusion. The gradual erosion of the Dashwood
sisters’ meagre inheritance – juxtaposed with John and
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Continues with idea of
concealment, giving the
essay coherence.
Mention of an aspect of
Austen’s style (her use of
irony) and a brief
comment on why she uses
irony – followed by an
example from passage 1.
9
Annotated passages and exam response on Sense and Sensibility by Jane Austen
Focus on language of
passage – noting how it
reveals aspects of
character or the author’s
ideas.
Brief ‘views and
values’ comment.
Awareness of
Austen’s ideas about
marriage, and about
the need for balancing
opposite tendencies
and needs.
Fanny’s ridiculous logic – is very amusing as they justify
their dishonesty with phrases such as ‘certainly’, ‘to be
sure’, and ‘that is very true’. Yet beneath Austen’s implicit
criticism of these self-seeking characters is a
condemnation of society’s values. As Elinor reflects, it is
‘the world which had made [Willoughby] extravagant and
vain’. The ‘world’ of 18th-century England has also made it
obligatory for women (and men like Willoughby) to ‘be sure
of doing well’. Thus, many impoverished young women such
as Lucy practise concealment and artifice in singlemindedly pursuing a suitably rich husband. Elinor and
Marianne, to their credit, do not. While they both
recognise the need for financial security, neither is willing
to sacrifice her integrity. To varying degrees, Elinor and
Marianne find love, respect and financial security in
marriage. In doing so, they balance the opposing forces of
reason and passion.
In setting up an opposition between openness and
concealment, Austen makes an interesting point. While
Willoughby’s belated honesty might redeem him, absolute
honesty is not always appropriate. In the confined and
often claustrophobic environment of their social sphere,
Austen’s characters must often resort to hypocrisy,
pretence and secrecy to avoid open hostility and social
upheaval. There is a vast difference, however, between
deceit, which entails cruelty and self-interest, and
circumspection which is motivated by kindness or common
sense.
Broadens the
discussion of
concealment and
links it with
Austen’s emphasis
on the need for
balance between
opposing
tendencies.
Austen’s examination of the detrimental effects of
both concealment and openness suggests that a balance
between these opposing forces promotes both individual
happiness and social harmony. Indeed, Austen also attains
a successful balance between concealment and honesty
through her use of irony. In exposing the gap between
what is said and what is meant, Austen subtly reveals the
flaws and foibles of her characters in a way that does not
threaten to destabilise her society; yet she argues
eloquently for a reassessment of society’s values.
Direct quotes.
Brief ‘views and values’
comment about society
and Austen’s subtle
critique of some of its
conventions.
A strong concluding
statement drawing
back from the close
analysis to make
general observations
about the text as a
whole.
(973 words)
Literature for Senior Students © Insight Publications 2006
10
Annotated passages and exam response on Sense and Sensibility by Jane Austen
Assessor comments
(Refer to the exam assessment criteria as published by the VCAA; key phrases from
the criteria appear below in italics.)
The interpretation is relevant and plausible: it uses the passages to show an awareness
of the characters’ complex personalities and relationships, and to comment on the
values of the society in a way that is consistent with details elsewhere in the text
(referring briefly to the wider text to support the interpretation). This also
demonstrates understanding of the text.
Thoughtful analysis and close reading of textual details are evident in the
selection of appropriate material from the text (direct quotes) and the discussion of
how this material is used to make observations about characters, relationships, ideas
about restraint and concealment and the writer’s views and values. These ideas are
developed in interesting ways, which go beyond the obvious and impart a degree of
complexity to the response. One of the most effective ways of analysing the features
of a text is to discuss the effects of the language features, such as tone, sentence
structure and punctuation, explaining how they contribute to the interpretation.
The response is coherently structured, using passage 2 as a springboard for a
discussion of the other set passages and relevant aspects of the wider text. The
response moves comfortably between the set passages, into the wider text and back to
the passages, as it develops ideas about concealment and the pressures on individuals
in a conservative, patriarchal society. There is some evidence of wider reading of
critical articles and literary theory in the analysis.
The writer uses language expressively, deploying a sophisticated vocabulary and
a fluent style; ideas are appropriately connected through such words and phrases as
‘by comparison’, ‘however’, ‘yet’, ‘thus’, ‘another’, ‘despite’ and ‘also’. These
connecting and qualifying words also suggest that a ‘point of view’ about the passages
and their relationships to the text is being developed – which adds greatly to the
coherence of the discussion. This response would score in the 18–20 (A+) range.
Literature for Senior Students © Insight Publications 2006
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