Weep You No More Sad Fountains
Marianne playing the piano and we meet Col. Brandon for the first time.
Weep you no more, sad fountains;
What need you flow so fast?
Look how the snowy mountains
Heav'n's sun doth gently waste.
But my sun's heav'nly eyes
View not your weeping
That now lies sleeping,
Softly, softly, now softly, softly lies sleeping.
Sleep is a reconciling,
A rest that Peace begets.
Doth not the sun rise smiling
When fair at e'en he sets
Rest you then, rest, sad eyes,
Melt not in weeping
While she lies sleeping,
Softly, softly, now softly, softly lies sleeping.
Lyric's author unknown, but set first by John Dowland to music.
The Dreame
Can't remember when in the movie this is, but towards the end after Marianne has recovered but before the Dashwood sisters' weddings.
Or Scorne, or pittie on me take,
I must the true Relation make,
I am undone to Night;
Love in a subtile Dreame disguis'd,
Hath both my heart and me surpriz'd,
Whom never yet he durst attempt t' awake;
Nor will he tell me for whose sake
He did me the Delight or Spight,
But leaves me to inquire,
In all my wild desire
Of sleepe againe; who was his Aid,
And sleepe so guiltie and afraid,
As since he dares not come within my sight.
Lyrics by Ben Johnson
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I think that the difference in the songs is huge, of course, but also the second one is very melancholy. "The Dreame" is really all about disappointment and the end of love - and so as Madison talks about earlier, how does Marianne come around to Colonel Brandon? I would hate for the guy to be always someone's second choice, that "impossible" second love.
As for everyone's story wrapping up nicely - perhaps more nicely than they deserve - there's a certain symmetry and justice to everything. Even the dastardly people who deserve to be banished to Scotland are pretty well off, like Robert and Lucy Ferrars inheriting everything, and Willoughby reconciling with his rich aunt.
The lesson to be learnt, it seems, is that the interior worth of someone is more valuable. So even though Edward gives up his inheritance, he's rewarded with a rectory. Robert and Lucy might get everything but good riddance. Willoughby - have fun being miserable. Our heroes may not win everything but they at least come out fine.
This speaks to the dichotomy between everyone being in everyone's business and the tight links between all the people, and the "interiority" of our characters. We don't know what's going on inside people's heads often, and everyone has their own motivations. So it's kind of fitting that the ending is really all about people finding their individual happiness. After all, it'd be nice if the Ferrars fell off a cliff or if John Dashwood had his comeuppance... but their misfortune doesn't actually affect your happiness, right?
More disconcerting to me is the rather mediocre deal that Elinor gets. Not that I want to sound super money-grubbing like Lady Susan or something, but perhaps I am not used to the heroine of the story winning what, the vicar? Isn't it weird that the novel's all about dualities - sense and sensibility, Elinor and Marianne, Brandon and Edward vs. Willoughby - and it turns out that the Brandons and Ferrars end up being social unequals if in the same social circle? Too much pride, perhaps, but I'm not sure I'd be okay with living in my younger sister's backyard forever. Sorry, Elinor.
Maybe Marianne "deserves more" because she suffers the most? But that's not really fair. Elinor spends most of the novel in silent, if rationalized, agony over Edward's "secret." What does this say about sense vs. sensibility?
I really like your idea of the importance of each individual's happiness in the end. It's easy enough to say that Austen is trying to comment on living either life of sense or of sensibility, but I think she could be pointing more towards leading a life of personal happiness. It seems that so many characters find joy in hearing of others' misfortune. Some of those characters could use a reminder that the most powerful source of joy is looking inward and being pleased with what you observe.
ReplyDeleteI'm so glad you talked about the music! I wish books had soundtracks, because this one is almost perfect. As to the question of "deserving" something more and where sense and sensibility come in, I agree with Jane that it's not about strictly sense or sensibility. I think the nature of their suffering is a good indicator of the difference between the two; while the sensible show their suffering to pretty much everyone, those with sense keep it to themselves (as I personally don't think Elinor would have told her mother and sister even if she hadn't been bound by a promise). While both definitely suffer, I think Austen is saying through their suffering there are flaws with both sense and sensibility when used alone. Of course when you use both together you either get an awesome mansion and a way older husband who's your second choice or you get your first choice and a hut in your sister's backyard... so maybe Austen is saying you need both to begin with and you'll have an even happier ending?
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