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Sensibility refers to an acute perception of or responsiveness toward something, such as the emotions of another. This concept emerged in eighteenth-century Britain, and was closely associated with studies of sense perception as the means through which knowledge is gathered. It also became associated with sentimental moral philosophy.
One of the first of such texts would be John Locke's Essay Concerning Human Understanding (1690), where he says, "I conceive that Ideas in the Understanding, are coeval with Sensation; which is such an Impression or Motion, made in some part of the body, as makes it be taken notice of in the Understanding." [2] George Cheyne and other medical writers wrote of "The English Malady," also called "hysteria" in women or "hypochondria" in men, a condition with symptoms that closely resemble the modern diagnosis of clinical depression. Cheyne considered this malady to be the result of over-taxed nerves. At the same time, theorists asserted that individuals who had ultra-sensitive nerves would have keener senses, and thus be more aware of beauty and moral truth. Thus, while it was considered a physical and/or emotional fragility, sensibility was also widely perceived as a virtue.
Originating in philosophical and scientific writings, sensibility became an English-language literary movement, particularly in the then-new genre of the novel. Such works, called sentimental novels, featured individuals who were prone to sensibility, often weeping, fainting, feeling weak, or having fits in reaction to an emotionally moving experience. If one were especially sensible, one might react this way to scenes or objects that appear insignificant to others. This reactivity was considered an indication of a sensible person's ability to perceive something intellectually or emotionally stirring in the world around them. However, the popular sentimental genre soon met with a strong backlash, as anti-sensibility readers and writers contended that such extreme behavior was mere histrionics, and such an emphasis on one's own feelings and reactions a sign of narcissism. Samuel Johnson, in his portrait of Miss Gentle, articulated this criticism:
She daily exercises her benevolence by pitying every misfortune that happens to every family within her circle of notice; she is in hourly terrors lest one should catch cold in the rain, and another be frighted by the high wind. Her charity she shews by lamenting that so many poor wretches should languish in the streets, and by wondering what the great can think on that they do so little good with such large estates. [3]
Objections to sensibility emerged on other fronts. For one, some conservative thinkers believed in a priori concepts, that is, knowledge that exists independent of experience, such as innate knowledge believed to be imparted by God. Theorists of the a priori distrusted sensibility because of its over-reliance on experience for knowledge. Also, in the last decades of the eighteenth century, anti-sensibility thinkers often associated the emotional volatility of sensibility with the exuberant violence of the French Revolution, and in response to fears of a revolution emerging in Britain, sensible figures were coded as anti-patriotic or even politically subversive. Maria Edgeworth's 1806 novel Leonora, for example, depicts the "sensible" Olivia as a villainess who contrives her passions or at least bends them to suit her selfish wants; the text also makes a point to say that Olivia has lived in France and thus adopted "French" manners. Jane Austen's 1811 novel Sense and Sensibility provides a more familiar example of this reaction against the excesses of feeling, especially those associated with women. Readers and many critics have seen the novel as a critique of the "cult" of sentimentalism prevalent in the late eighteenth century. [4]
The effusive nature of many sentimental heroes, such as Harley in Henry Mackenzie's 1771 novel The Man of Feeling, was often decried by contemporary critics as celebrating a weak, effeminate character, which ultimately contributed to a discrediting of previously popular sentimental novels (and to a lesser extent, all novels) as unmanly works. This concern coincided with a marked rise in the production of novels by women writers of the period, whether they chose to write in a sentimental mode or not, and played a significant role in larger debates about gender, genre, literary value, and nationalist political aims during the last decade of the eighteenth century and the first decades of the nineteenth, when the "National Tale" concept emerged in the wake of the French Revolutionary Wars and the union of Great Britain and Ireland. [5] [6]
A Vindication of the Rights of Woman: with Strictures on Political and Moral Subjects (1792), written by British philosopher and women's rights advocate Mary Wollstonecraft (1759–1797), is one of the earliest works of feminist philosophy. In it, Wollstonecraft responds to those educational and political theorists of the eighteenth century who did not believe women should receive a rational education. She argues that women ought to have an education commensurate with their position in society, claiming that women are essential to the nation because they educate its children and because they could be "companions" to their husbands, rather than mere wives. Instead of viewing women as ornaments to society or property to be traded in marriage, Wollstonecraft maintains that they are human beings deserving of the same fundamental rights as men.
Jane Austen was an English novelist known primarily for her six novels, which implicitly interpret, critique, and comment upon the British landed gentry at the end of the 18th century. Austen's plots often explore the dependence of women on marriage for the pursuit of favourable social standing and economic security. Her works are an implicit critique of the novels of sensibility of the second half of the 18th century and are part of the transition to 19th-century literary realism. Her deft use of social commentary, realism and biting irony have earned her acclaim among critics and scholars.
Sense and Sensibility is the first novel by the English author Jane Austen, published in 1811. It was published anonymously; By A Lady appears on the title page where the author's name might have been. It tells the story of the Dashwood sisters, Elinor and Marianne as they come of age. They have an older half-brother, John, and a younger sister, Margaret.
Transcendental idealism is a philosophical system founded by German philosopher Immanuel Kant in the 18th century. Kant's epistemological program is found throughout his Critique of Pure Reason (1781). By transcendental Kant means that his philosophical approach to knowledge transcends mere consideration of sensory evidence and requires an understanding of the mind's innate modes of processing that sensory evidence.
Empfindsamkeit or Empfindsamer Stil is a style of musical composition and poetry developed in 18th-century Germany, intended to express "true and natural" feelings, and featuring sudden contrasts of mood. It was developed as a contrast to the Baroque Affektenlehre, in which a composition would have the same affect throughout.
Sentimentality originally indicated the reliance on feelings as a guide to truth, but in current usage the term commonly connotes a reliance on shallow, uncomplicated emotions at the expense of reason.
Elizabeth Bennet is the protagonist in the 1813 novel Pride and Prejudice by Jane Austen. She is often referred to as Eliza or Lizzy by her friends and family. Elizabeth is the second child in a family of five daughters. Though the circumstances of the time and environment push her to seek a marriage of convenience for economic security, Elizabeth wishes to marry for love.
George Cheyne, M.D. R.C. E.d. R.S.S. (1672–1743), was a pioneering physician, early proto-psychiatrist, philosopher and mathematician.
The sentimental novel or the novel of sensibility is an 18th-century literary genre which celebrates the emotional and intellectual concepts of sentiment, sentimentalism, and sensibility. Sentimentalism, which is to be distinguished from sensibility, was a fashion in both poetry and prose fiction beginning in the eighteenth century in reaction to the rationalism of the Augustan Age.
The Man of Feeling is a sentimental novel published in 1771, written by Scottish author Henry Mackenzie. The novel presents a series of moral vignettes which the naïve protagonist Harley either observes, is told about, or participates in. The novel is often seen to contain elements of the Romantic novel, which became popular in the years following its publication.
Elinor Dashwood is a fictional character and the protagonist of Jane Austen's 1811 novel Sense and Sensibility.
Mary: A Fiction is the only complete novel by 18th-century British feminist Mary Wollstonecraft. It tells the tragic story of a woman's successive "romantic friendships" with a woman and a man. Composed while Wollstonecraft was a governess in Ireland, the novel was published in 1788 shortly after her summary dismissal and her decision to embark on a writing career, a precarious and disreputable profession for women in 18th-century Britain.
Sentimentalism is a practice of being sentimental, and thus tending towards making emotions and feelings the basis of a person's actions and reactions, as opposed to reason.
Maria: or, The Wrongs of Woman is the 18th-century British feminist Mary Wollstonecraft's unfinished novelistic sequel to her revolutionary political treatise A Vindication of the Rights of Woman (1792). The Wrongs of Woman was published posthumously in 1798 by her husband, William Godwin, and is often considered her most radical feminist work.
Claudia L. Johnson is the Murray Professor of English Literature at Princeton University; she is also currently chairperson of the English department. Johnson received her PhD from Princeton University; she specializes in Restoration and 18th century British literature, with an especial focus on the novel. She is also interested in feminist theory and gender studies. Johnson is renowned for her books on Jane Austen and Mary Wollstonecraft.
The reception history of Jane Austen follows a path from modest fame to wild popularity. Jane Austen (1775–1817), the author of such works as Pride and Prejudice (1813) and Emma (1815), has become one of the best-known and most widely read novelists in the English language. Her novels are the subject of intense scholarly study and the centre of a diverse fan culture.
Jane Austen lived her entire life as part of a family located socially and economically on the lower fringes of the English gentry. The Rev. George Austen and Cassandra Leigh, Jane Austen's parents, lived in Steventon, Hampshire, where Rev. Austen was the rector of the Anglican parish from 1765 until 1801. Jane Austen's immediate family was large and close-knit. She had six brothers—James, George, Charles, Francis, Henry, and Edward—and a beloved older sister, Cassandra. Austen's brother Edward was adopted by Thomas and Elizabeth Knight and eventually inherited their estates at Godmersham, Kent, and Chawton, Hampshire. In 1801, Rev. Austen retired from the ministry and moved his family to Bath, Somerset. He died in 1805 and for the next four years, Jane, Cassandra, and their mother lived first in rented quarters and then in Southampton where they shared a house with Frank Austen's family. During these unsettled years, they spent much time visiting various branches of the family. In 1809, Jane, Cassandra, and their mother moved permanently into a large "cottage" in Chawton village that was part of Edward's nearby estate. Austen lived at Chawton until she moved to Winchester for medical treatment shortly before her death in 1817.
Celestina is an eighteenth-century English novel and poet Charlotte Smith’s third novel. Published in 1791 by Thomas Cadell, the novel tells the story of an adopted orphan who discovers the secret of her parentage and marries the man she loves. It is a courtship novel that follows the typical Cinderella plot while still commenting on contemporary political issues.
Jane Austen's (1775–1817) distinctive literary style relies on a combination of parody, burlesque, irony, free indirect speech and a degree of realism. She uses parody and burlesque for comic effect and to critique the portrayal of women in 18th-century sentimental and Gothic novels. Austen extends her critique by highlighting social hypocrisy through irony; she often creates an ironic tone through free indirect speech in which the thoughts and words of the characters mix with the voice of the narrator. The degree to which critics believe Austen's characters have psychological depth informs their views regarding her realism. While some scholars argue that Austen falls into a tradition of realism because of her finely executed portrayal of individual characters and her emphasis on "the everyday", others contend that her characters lack a depth of feeling compared with earlier works, and that this, combined with Austen's polemical tone, places her outside the realist tradition.
Romanticism was an artistic, literary, and intellectual movement that originated in Europe toward the end of the 18th century. Scholars regard the publishing of William Wordsworth's and Samuel Coleridge's Lyrical Ballads in 1798 as probably the beginning of the movement in England, and the crowning of Queen Victoria in 1837 as its end. Romanticism arrived in other parts of the English-speaking world later; in the United States, it arrived around 1820.
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