Who is willoughby engaged to in sense and sensibility

He carries her home after she sprains her ankle in the rain. Everyone falls for Willoughby in the Dashwood house. He becomes an instant favorite, and starts hanging out with them all the time.

Willoughby encourages Marianne to make fun of Colonel Brandon. On the day of the failed excursion, Willoughby takes Marianne for a private drive in his carriage. He takes her to his aunt's house, Allenham, and shows her around. Willoughby fervently declares his love for Barton Cottage and, by extension, its inhabitants….

The next day, Willoughby skips out on his dinner date with the Dashwoods — Elinor and Mrs. Dashwood come home earlier that day to find him with an upset Marianne. He claims that his aunt has sent him back to London, and he must obey her.

Smith disinherits him, he is desperate for wealth so he marries Miss Grey for her money. Late in the novel, he finally offers Elinor an explanation of his behavior, saying that he hurt Marianne unintentionally, regrets his foolish behavior, and really does love Marianne.

Marianne and Elinor and the reader must then reevaluate Willoughby yet again, and his ultimate character is still somewhat ambiguous at the end of the novel.

For each quote, you can also see the other characters and themes related to it each theme is indicated by its own dot and icon, like this one:. Chapter 10 Quotes. Related Themes: Love and Marriage. Page Number and Citation : 49 Cite this Quote. Explanation and Analysis:. Chapter 11 Quotes. Page Number and Citation : 54 Cite this Quote.

Chapter 16 Quotes. Related Themes: Character, Sense, and Sensibility. Page Number and Citation : 83 Cite this Quote. Chapter 20 Quotes. Page Number and Citation : Cite this Quote. Chapter 28 Quotes. Chapter 45 Quotes. Chapter 46 Quotes. The colored dots and icons indicate which themes are associated with that appearance. Chapter 9. The gentleman introduced himself as Willoughby , and offered to visit the cottage the next day, then left. All the Dashwoods admired Chapter When Willoughby paid his visit to the cottage, Marianne learned that he was fond of music and Willoughby seemed to be as fond of Marianne as she was of him, and he continued Elinor gradually now realized that Colonel Brandon also liked Marianne, and, as Marianne and Willoughby grew closer, she felt bad for him, since she admired his serious, but mild manners Marianne teased Elinor at how Marianne and Willoughby became closer and closer, and Elinor had to advise Marianne to restrain herself and not As Marianne was walking one morning with Elinor, she told her sister that Willoughby had given her a horse.

Marianne was very excited about the gift, but Elinor was She kept her promise, but Willoughby insisted that the horse was still hers and promised Margaret overheard this conversation between Willoughby and Marianne and guessed that they were engaged. She told this to Elinor, but Elinor Marianne and Willoughby happily got into a carriage by themselves and went to his nearby home at Allenham, Jennings told Marianne she knew where she and Willoughby had gone earlier that day.

One day, when Mrs. Dashwood spoke of altering But when they entered the cottage, they saw Marianne run to her room Dashwood invited him to visit Barton Cottage often, but Willoughby was evasive. He said he had to leave, and took off quickly, leaving Elinor and She wanted proof of his engagement to Marianne, even though Mrs. Dashwood was sure they The next day, she was still clearly upset and would talk to no Elinor was uneasy, as no letters came from Willoughby.

She asked her mother to ask Marianne whether or not she was engaged to Willoughby , But, when the man came closer, they saw that he was actually Edward Ferrars. Sir John and Mrs. In other words, this absence of poetic justice is an indictment of a society that lacks morality and allows the villains to enjoy undeserved wealth and respectability. For Vivien Jones,. Her realism is tempered by romance : an essentially conservative form. Happily-ever-after endings, which conveniently combine material comfort with emotional satisfaction, are her heroines' reward for their moral integrity and for refusing to marry merely for mercenary convenience.

Firstly, few marriages are presented as happy ones in the course of the novel. The Palmers are another mismatched couple and, in the film, the physical contrast between the two actors embodying them — small plump Imelda Staunton and tall lean Hugh Laurie — offers a comic visual representation of their ill-assortedness. In fact, rather than belittling Edward and Elinor's feelings for each other, the sentence mocks the excesses displayed in sentimental novels.

The text is more ambiguous still regarding Marianne, with assertions accompanied by amendments. The mention of the colonel's flannel waistcoat again in the last chapter can however be seen as humorous as suggested by the exclamation mark. The final allusion is therefore not necessarily negative but may be read as proof that Marianne has grown out of some of her prejudices. The couple reaches the middle ground advocated by Austen : a balanced blend of sense AND sensibility. He was not handsome, and his manners required intimacy to make them pleasing.

In fact, he is absent for the best part of the novel and when present, he is not very forthcoming as he is hiding his engagement with Lucy or is markedly helped by Elinor as in volume II, chapter 13 when he visits Elinor and unexpectedly finds Lucy with her. Alternatively, this unromantic dimension of the heroes and the two weddings in the novel can be explained by the link between the two sisters being the most important one, as suggested by the very last paragraph that is devoted first and foremost to their relationship, which has sometimes been read as superior to the marital link.

Colonel Brandon has indeed come to share some of the positive qualities of Austen's Willoughby as appears, for instance, in his reading poetry to Marianne. In the film, there is thus no suggestion that either Elinor or Marianne is losing out. The film certainly shows the sisters' intimacy and trust recovered with their walk by the seaside discussing Willoughby, yet it does not end on a two-shot of Elinor and Marianne but on a romantic country wedding.

Indeed, while, as shown above, Austen deliberately resisted poetic justice in the epilogue to her novel, Ang Lee's conveys a different atmosphere in his adaptation. Marriage is the symbol of the happy ending see Lodge and Bordwell , and Lee makes it the centrepiece of his epilogue. The resolution, Edward's declaration and proposal to Elinor not actually represented but observed by the other Dashwood women shown in medium shots displaying their strong emotion is followed by a cut to a procession of unknown children sauntering and shouting around a wedding cake.

With these images of joyful village children arriving to accompany the couple coming out of church, the wedding is fully celebrated as a social event that gathers the community together. Social harmony, joy and happiness are the order of the day with smiling faces, music and blue skies. The camera lingers slightly on Elinor and Edward. A few shots on Marianne turning a loving face to a beaming Brandon and later peacefully smiling when sitting in the carriage ascertain the happiness of all — and deny any doubt one may have had reading the novel as to Marianne's feelings.

Apart from these, no close shot to single out a character or emphasize emotions as this epilogue typically bids farewell to the characters that recede in the distance via, for instance, high angle shots and an extreme long shot as the closing image. Ang Lee multiplies the signs of closure with the actual leave-taking of Marianne and Colonel Brandon getting in a carriage see Hock This is then drowned by extradiegetic music, louder as Colonel Brandon and Marianne come out of the church to indicate to the viewer that this is the climax.

Focusing on the wedding conveys a sense of poetic justice at work. The epilogue may display the typical closure pattern but the wedding scene is not however a scene of reconciliation. John and Fanny Dashwood's presence at the wedding is indeed not to be seen as an indication of family unity and reconciliation.

Fanny does not sincerely partake in the ambient joy : she is her usual disagreeable and displeased self as indicated in a shot that shows her complaining about rice being thrown over her head. Significantly, she is shown indicating to her husband where the money is to be picked up, when Colonel Brandon throws coins in the air. This also acts as a reminder of her behaviour at the beginning of the film when she steers John towards keeping all the money given by his father to themselves.

Another shot with the same effect of framing or bracketing with content-related symmetry see Hock 73 shows Brandon throwing the coins in the air for the village children to pick up. Yet, if the theme of economic reality or tyranny does not prevail in the film epilogue as it does in the novel, these final shots of the coins in the air certainly remind the viewer of the centrality of money to the characters' lives and relationships.

Brown but also a way of criticising society. While, as we have seen, the romantic resolution is doubtful in Austen's novel, Lee makes it the centrepiece of his film's epilogue, yet without eschewing the impact of money.

The heritage film genre to which Lee's Sense and Sensibility belongs is often taxed with nostalgia, presenting the past as idyllic see, for instance, Higson. Lee's emphasis on economic issues visible in their bracketing shots that foreground the weight of the economic issues faced by the women but on which they have no hold and no say protects his film from such accusation and gives its ending a bittersweet taste.

Thompson's script also included a kiss between Elinor and Edward Gay but it was significantly discarded by Ang Lee who, even if he does insist on a romantic resolution, does it with a restraint that is quite Austenian.

Elinor and Marianne are obliged to accompany Lady Middleton to a party in town, even though Marianne is far too melancholic to enjoy dancing or card games. Suddenly, Marianne catches sight of Willoughby among the crowd and rushes forth to greet him.

She is astonished and deeply distressed when he avoids her eye and appears absorbed in conversation with another young lady. When she finally approaches him directly, he coldly remarks that he indeed received her letters but never found her at home when he attempted to visit her in reply. Marianne must leave the party immediately with her sisters, for she is too overcome by grief to do anything but climb into bed.

The next day, after breakfast, Marianne shares with Elinor a letter she has just received from Willoughby. In his letter, Willoughby apologizes for anything in his conduct at the party that might have offended her. He expresses his esteem for the entire Dashwood family and regrets if he ever gave Marianne any reason to believe that he felt differently for her. Finally, he informs her of his upcoming engagement to another woman and encloses in his letter the three notes that she sent him in London.

To Elinor's dismay, all of Marianne's notes were urgent pleas for Willoughby to come visit her at Mrs. Jennings's home, even though, as Marianne confesses, they were never formally engaged to one another. Elinor can hardly believe that Marianne could be so forward in her affections when she and Willoughby were not even engaged, but she nevertheless tries to comfort her sister with gentle words, wine, and lavender drops.

Marianne tells her sister that she wants to leave London immediately, but Elinor reminds her that it would be rude to leave Mrs. Jennings after such a short visit. Jennings tries to comfort Marianne but says all the wrong things.