Summary
Colonel Brandon's Story
Sense and Sensibility by Jane Austen
Willoughby makes his grand entrance into the Dashwood sisters' lives, and it's everything a romance novel promises. After Marianne's dramatic tumble down the hill, this mysterious stranger literally sweeps her off her feet, carrying her home like something out of a fairy tale. But here's what's really happening beneath the surface: Austen is showing us how quickly we can be swept away by appearances and first impressions. Marianne, who prides herself on her deep feelings and refined sensibilities, falls hard and fast. Willoughby is handsome, charming, and seems to share all her passionate opinions about poetry and music. He's everything she's dreamed of in a romantic hero. Meanwhile, Elinor watches this whirlwind courtship with growing concern. She sees how completely Marianne abandons all caution, how she interprets every gesture as proof of Willoughby's devotion. The contrast between the sisters becomes stark: Elinor guards her own feelings carefully, even when she's clearly developing feelings for Edward, while Marianne wears her heart on her sleeve for everyone to see. This chapter matters because it sets up the central tension of the novel - not just between sense and sensibility, but between different ways of approaching love and relationships. Marianne's approach feels more romantic and passionate, but Austen hints that it might also be more dangerous. She's teaching us to question whether intense feelings always lead to good decisions, and whether the most charming people are always the most trustworthy. It's a lesson about the difference between infatuation and real love, played out through two very different sisters.
Coming Up in Chapter 13
Willoughby becomes a daily visitor at Barton Cottage, and Marianne's infatuation deepens. But Mrs. Jennings has some interesting observations about the young couple that might make readers wonder if everything is quite as perfect as it seems.
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An excerpt from the original text.(~500 words)
As Elinor and Marianne were walking together the next morning the latter communicated a piece of news to her sister, which in spite of all that she knew before of Marianne’s imprudence and want of thought, surprised her by its extravagant testimony of both. Marianne told her, with the greatest delight, that Willoughby had given her a horse, one that he had bred himself on his estate in Somersetshire, and which was exactly calculated to carry a woman. Without considering that it was not in her mother’s plan to keep any horse, that if she were to alter her resolution in favour of this gift, she must buy another for the servant, and keep a servant to ride it, and after all, build a stable to receive them, she had accepted the present without hesitation, and told her sister of it in raptures. “He intends to send his groom into Somersetshire immediately for it,” she added, “and when it arrives we will ride every day. You shall share its use with me. Imagine to yourself, my dear Elinor, the delight of a gallop on some of these downs.” Most unwilling was she to awaken from such a dream of felicity to comprehend all the unhappy truths which attended the affair; and for some time she refused to submit to them. As to an additional servant, the expense would be a trifle; Mama she was sure would never object to it; and any horse would do for _him;_ he might always get one at the park; as to a stable, the merest shed would be sufficient. Elinor then ventured to doubt the propriety of her receiving such a present from a man so little, or at least so lately known to her. This was too much. “You are mistaken, Elinor,” said she warmly, “in supposing I know very little of Willoughby. I have not known him long indeed, but I am much better acquainted with him, than I am with any other creature in the world, except yourself and mama. It is not time or opportunity that is to determine intimacy;—it is disposition alone. Seven years would be insufficient to make some people acquainted with each other, and seven days are more than enough for others. I should hold myself guilty of greater impropriety in accepting a horse from my brother, than from Willoughby. Of John I know very little, though we have lived together for years; but of Willoughby my judgment has long been formed.” Elinor thought it wisest to touch that point no more. She knew her sister’s temper. Opposition on so tender a subject would only attach her the more to her own opinion. But by an appeal to her affection for her mother, by representing the inconveniences which that indulgent mother must draw on herself, if (as would probably be the case) she consented to this increase of establishment, Marianne was shortly subdued; and she promised not to tempt her mother to such imprudent kindness by mentioning...
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Intelligence Amplifier™ Analysis
The Road of Romantic Projection - When We Fall in Love with Our Own Fantasy
The tendency to fall in love with an idealized fantasy version of someone rather than who they actually are, based on limited positive evidence interpreted through our own desires.
Why This Matters
Connect literature to life
This chapter teaches how to recognize when someone is telling you what you want to hear versus showing you who they really are through consistent actions over time.
Practice This Today
This week, notice when someone seems to perfectly match your interests or opinions too quickly—ask yourself what evidence you have of their character beyond their words, and look for patterns of behavior across different situations and relationships.
Now let's explore the literary elements.
Terms to Know
Sensibility
In Austen's time, this meant being guided by intense emotions and feelings rather than practical thinking. People with 'sensibility' were seen as more refined and artistic, but also more likely to make impulsive decisions. It was considered fashionable to have strong emotional reactions to everything.
Modern Usage:
We see this in people who make major life decisions based purely on how they feel in the moment, like quitting jobs without backup plans or moving across the country for someone they just met.
Romantic Hero
The idealized male love interest who seems perfect - handsome, charming, mysterious, and appearing at just the right moment to rescue the heroine. In literature, these men often seem too good to be true because they usually are.
Modern Usage:
Think of the guy who slides into your DMs with perfect timing after a breakup, says all the right things, and seems to share all your interests - sometimes it's real, sometimes it's a performance.
Courtship
The formal process of getting to know someone with marriage as the goal. In Austen's time, this had strict rules about chaperoning, proper behavior, and family approval. Moving too fast or being too intimate was scandalous.
Modern Usage:
Similar to our dating culture, but imagine if your family had to approve every relationship and you couldn't be alone together without causing gossip.
First Impressions
The immediate judgments we make about people when we first meet them. Austen was fascinated by how often these snap decisions turn out to be completely wrong, especially when someone is trying to make a good impression.
Modern Usage:
Like judging someone's entire personality from their dating profile, or thinking someone is perfect because they're charming at a party - first meetings rarely show the whole picture.
Propriety
Following the social rules about what's considered proper behavior, especially for women. This included how to dress, speak, and interact with men. Breaking these rules could ruin your reputation and marriage prospects.
Modern Usage:
Similar to unwritten workplace rules or social media etiquette - there are expectations about how to behave, and breaking them has consequences.
Infatuation
Intense but shallow romantic feelings based on fantasy rather than really knowing someone. It feels overwhelming and all-consuming but usually burns out quickly when reality sets in.
Modern Usage:
That feeling when you're obsessed with someone you barely know, constantly checking their social media, and planning your future together after three dates.
Characters in This Chapter
Marianne Dashwood
Romantic protagonist
She represents pure emotion and romantic idealism. In this chapter, she falls completely under Willoughby's spell, abandoning all caution because he seems to match her romantic fantasies perfectly. Her immediate trust shows both her passionate nature and her inexperience.
Modern Equivalent:
The friend who falls hard and fast, already planning the wedding after the second date
Elinor Dashwood
Voice of reason
She serves as the cautious observer who sees potential problems that Marianne misses. While developing her own feelings for Edward, she maintains emotional control and watches her sister's whirlwind romance with growing concern.
Modern Equivalent:
The sensible friend who asks 'Are you sure about this guy?' while everyone else is caught up in the excitement
John Willoughby
Charming newcomer
He makes a dramatic entrance as Marianne's rescuer and seems to be everything she's dreamed of in a romantic partner. His immediate charm and apparent devotion sweep Marianne off her feet, but Austen hints that his perfection might be too convenient.
Modern Equivalent:
The smooth-talking guy who shows up at exactly the right moment with all the right words
Mrs. Dashwood
Permissive mother
She encourages Marianne's romantic feelings and sees Willoughby's attention as wonderful news. Her approval gives Marianne permission to pursue the relationship without restraint, showing how parental attitudes shape romantic decisions.
Modern Equivalent:
The mom who's more excited about her daughter's new boyfriend than concerned about red flags
Key Quotes & Analysis
"Marianne's preserver, as Margaret, with more elegance than precision, styled Willoughby, called at the cottage early the next morning to make his personal enquiries."
Context: Describing Willoughby's visit the day after rescuing Marianne
Austen uses the dramatic word 'preserver' ironically, showing how the family is already casting Willoughby in the role of romantic hero. The phrase 'more elegance than precision' hints that their romantic interpretation might not match reality.
In Today's Words:
The guy who helped Marianne - who the family was already calling her knight in shining armor - showed up the next morning to check on her.
"His person and air were equal to what her fancy had ever drawn for the hero of a favourite story."
Context: Describing Marianne's first impression of Willoughby
This reveals that Marianne is seeing Willoughby through the lens of romantic fiction rather than reality. She's projecting her fantasy of the perfect man onto him instead of getting to know who he actually is.
In Today's Words:
He looked exactly like the perfect guy she'd always imagined from romance novels.
"Marianne began now to perceive that the desperation which had seized her at sixteen and a half, of ever seeing a man who could satisfy her ideas of perfection, had been rash and unjustifiable."
Context: After meeting Willoughby, Marianne thinks her previous despair about finding love was silly
This shows Marianne's tendency toward dramatic extremes - she goes from complete despair to complete euphoria based on one meeting. Austen is gently mocking the intensity of teenage romantic feelings.
In Today's Words:
Marianne realized that being dramatic about never finding the perfect guy had been totally unnecessary.
Thematic Threads
First Impressions
In This Chapter
Willoughby's dramatic rescue creates an instant powerful impression that shapes how Marianne interprets everything about him afterward
Development
Building on earlier themes about snap judgments, now showing how dramatic circumstances can amplify their power
In Your Life:
You might find yourself making major decisions about people based on how they handled one impressive moment rather than consistent behavior over time.
Emotional Control
In This Chapter
Marianne completely abandons caution and rational assessment once her feelings are engaged, while Elinor maintains perspective even when attracted to Edward
Development
The central contrast between the sisters becomes more pronounced as their different approaches to feelings play out
In Your Life:
You might recognize times when strong emotions made you ignore red flags or rush into commitments you later regretted.
Social Performance
In This Chapter
Willoughby performs the role of romantic hero perfectly, saying all the right things about poetry and sensitivity to match Marianne's expectations
Development
Introduced here as a key element of how people can manipulate first impressions
In Your Life:
You might notice how some people seem to mirror your interests and opinions too perfectly, especially early in relationships or professional situations.
Class Dynamics
In This Chapter
Willoughby's apparent wealth and status (nice horse, leisure time for poetry) adds to his appeal and makes the Dashwoods less questioning of his character
Development
Continuing the theme of how economic position influences social relationships and perceptions
In Your Life:
You might find yourself more trusting of people who display markers of success or status, even when you don't know them well.
Sisterly Wisdom
In This Chapter
Elinor's growing concern about Marianne's rapid attachment shows how outside perspective can see dangers that the person involved cannot
Development
Developing the theme of how different personalities handle relationships and the value of having trusted advisors
In Your Life:
You might recognize times when friends or family expressed concerns about your relationships that you dismissed but later realized were valid.
You now have the context. Time to form your own thoughts.
Discussion Questions
- 1
What specific details about Willoughby immediately captured Marianne's attention, and how quickly did she decide he was her ideal match?
analysis • surface - 2
Why does Marianne interpret Willoughby's shared opinions about poetry and music as proof they're perfectly compatible in all areas of life?
analysis • medium - 3
Where do you see people today falling for someone based on limited information - dating apps, job interviews, social media, or first meetings?
application • medium - 4
If you were Elinor watching your sister or friend get swept away by someone they just met, how would you express concern without damaging the relationship?
application • deep - 5
What does Marianne's instant attachment to Willoughby reveal about the difference between falling in love with a person versus falling in love with an idea of what that person represents?
reflection • deep
Critical Thinking Exercise
Create Your Evidence vs. Fantasy Chart
Think of someone you've recently met and felt excited about - romantically, professionally, or as a potential friend. Draw two columns: 'What I Actually Know' and 'What I'm Assuming/Hoping.' Be brutally honest about which column has more entries. Then identify three specific questions you could ask or observations you could make to move items from the assumption column to the evidence column.
Consider:
- •Notice how much of your excitement might be based on projection rather than evidence
- •Consider whether your assumptions align with what you actually need in this relationship
- •Think about how your emotional state when you met them might have influenced your interpretation
Journaling Prompt
Write about a time when you fell hard for someone's potential rather than their reality. What warning signs did you ignore, and what would you do differently now?
Coming Up Next...
Chapter 13: Lucy Steele
The next chapter brings new insights and deeper understanding. Continue reading to discover how timeless patterns from this classic literature illuminate our modern world and the choices we face.