The narrator's tone in Persuasion is often formal and authoritative, especially when commenting on characters’ traits and behaviors. In Chapter 2, the narrator uses a formal, authoritative tone when describing Lady Russell:
That Lady Russell, of steady age and character, and extremely well provided for, should have no thought of a second marriage, needs no apology to the public, which is rather part to be unreasonably discontented when a woman does marry again, than when she does not; but Sir Walter’s continuing in singleness requires explanation.
In this passage, the narrator both describes Lady Russell and challenges the societal tendency to unfavorably judge women who remarry after their first husband's death. In this way, the narrator asserts an opinion, interjecting in a very authorial way instead of passively letting the narrative unfold without comment.
To that end, the narrator's tone is sometimes critical. In Chapter 5, for instance, the narrator criticizes Mary Elliot Musgrove, notably in comparison to her sister Anne:
Mary had not Anne’s understanding nor temper. While well, and happy, and properly attended to, she had great good humour and excellent spirits; but any indisposition sunk her completely. She had no resources for solitude; and inheriting a considerable share of the Elliot self-importance, was very prone to add to every other distress that of fancying herself neglected and ill-used. In person, she was inferior to both sisters, and had, even in her bloom, only reached the dignity of being “a fine girl."
There's a clear critical tone at play in this passage, as the narrator explicitly states that Mary is "inferior" to both of her sisters. Conversely, though, the novel's tone can also be quite sympathetic, as in this admiring description of Anne in Chapter 4:
How eloquent could Anne Elliot have been! how eloquent, at least, were her wishes on the side of early warm attachment, and a cheerful confidence in futurity, against that over-anxious caution which seems to insult exertion and distrust Providence!
It's quite obvious that the narrator thinks highly of Anne and sympathizes with her unmarried status. Elsewhere, though, the narrator takes on an ironic tone as a way of gaining some distance from the characters and the world that the novel satirizes. This often involves humor, as in Chapter 1, when the narrator explains that:
For one daughter, his eldest, [Sir Walter Eliot] would have really given up anything, which he had not been very much tempted to do.
In this instance, Austen uses irony to reveal the difference between Sir Walter’s inflated, vain view of himself and his selfish behavior towards Anne. In showing how things really are rather than how characters like Sir Walter claim them to be, the narrator highlights their flaws as characters and even, at times, seems to offer moral judgment.
The narrator's tone in Persuasion is often formal and authoritative, especially when commenting on characters’ traits and behaviors. In Chapter 2, the narrator uses a formal, authoritative tone when describing Lady Russell:
That Lady Russell, of steady age and character, and extremely well provided for, should have no thought of a second marriage, needs no apology to the public, which is rather part to be unreasonably discontented when a woman does marry again, than when she does not; but Sir Walter’s continuing in singleness requires explanation.
In this passage, the narrator both describes Lady Russell and challenges the societal tendency to unfavorably judge women who remarry after their first husband's death. In this way, the narrator asserts an opinion, interjecting in a very authorial way instead of passively letting the narrative unfold without comment.
To that end, the narrator's tone is sometimes critical. In Chapter 5, for instance, the narrator criticizes Mary Elliot Musgrove, notably in comparison to her sister Anne:
Mary had not Anne’s understanding nor temper. While well, and happy, and properly attended to, she had great good humour and excellent spirits; but any indisposition sunk her completely. She had no resources for solitude; and inheriting a considerable share of the Elliot self-importance, was very prone to add to every other distress that of fancying herself neglected and ill-used. In person, she was inferior to both sisters, and had, even in her bloom, only reached the dignity of being “a fine girl."
There's a clear critical tone at play in this passage, as the narrator explicitly states that Mary is "inferior" to both of her sisters. Conversely, though, the novel's tone can also be quite sympathetic, as in this admiring description of Anne in Chapter 4:
How eloquent could Anne Elliot have been! how eloquent, at least, were her wishes on the side of early warm attachment, and a cheerful confidence in futurity, against that over-anxious caution which seems to insult exertion and distrust Providence!
It's quite obvious that the narrator thinks highly of Anne and sympathizes with her unmarried status. Elsewhere, though, the narrator takes on an ironic tone as a way of gaining some distance from the characters and the world that the novel satirizes. This often involves humor, as in Chapter 1, when the narrator explains that:
For one daughter, his eldest, [Sir Walter Eliot] would have really given up anything, which he had not been very much tempted to do.
In this instance, Austen uses irony to reveal the difference between Sir Walter’s inflated, vain view of himself and his selfish behavior towards Anne. In showing how things really are rather than how characters like Sir Walter claim them to be, the narrator highlights their flaws as characters and even, at times, seems to offer moral judgment.
The narrator's tone in Persuasion is often formal and authoritative, especially when commenting on characters’ traits and behaviors. In Chapter 2, the narrator uses a formal, authoritative tone when describing Lady Russell:
That Lady Russell, of steady age and character, and extremely well provided for, should have no thought of a second marriage, needs no apology to the public, which is rather part to be unreasonably discontented when a woman does marry again, than when she does not; but Sir Walter’s continuing in singleness requires explanation.
In this passage, the narrator both describes Lady Russell and challenges the societal tendency to unfavorably judge women who remarry after their first husband's death. In this way, the narrator asserts an opinion, interjecting in a very authorial way instead of passively letting the narrative unfold without comment.
To that end, the narrator's tone is sometimes critical. In Chapter 5, for instance, the narrator criticizes Mary Elliot Musgrove, notably in comparison to her sister Anne:
Mary had not Anne’s understanding nor temper. While well, and happy, and properly attended to, she had great good humour and excellent spirits; but any indisposition sunk her completely. She had no resources for solitude; and inheriting a considerable share of the Elliot self-importance, was very prone to add to every other distress that of fancying herself neglected and ill-used. In person, she was inferior to both sisters, and had, even in her bloom, only reached the dignity of being “a fine girl."
There's a clear critical tone at play in this passage, as the narrator explicitly states that Mary is "inferior" to both of her sisters. Conversely, though, the novel's tone can also be quite sympathetic, as in this admiring description of Anne in Chapter 4:
How eloquent could Anne Elliot have been! how eloquent, at least, were her wishes on the side of early warm attachment, and a cheerful confidence in futurity, against that over-anxious caution which seems to insult exertion and distrust Providence!
It's quite obvious that the narrator thinks highly of Anne and sympathizes with her unmarried status. Elsewhere, though, the narrator takes on an ironic tone as a way of gaining some distance from the characters and the world that the novel satirizes. This often involves humor, as in Chapter 1, when the narrator explains that:
For one daughter, his eldest, [Sir Walter Eliot] would have really given up anything, which he had not been very much tempted to do.
In this instance, Austen uses irony to reveal the difference between Sir Walter’s inflated, vain view of himself and his selfish behavior towards Anne. In showing how things really are rather than how characters like Sir Walter claim them to be, the narrator highlights their flaws as characters and even, at times, seems to offer moral judgment.
The narrator's tone in Persuasion is often formal and authoritative, especially when commenting on characters’ traits and behaviors. In Chapter 2, the narrator uses a formal, authoritative tone when describing Lady Russell:
That Lady Russell, of steady age and character, and extremely well provided for, should have no thought of a second marriage, needs no apology to the public, which is rather part to be unreasonably discontented when a woman does marry again, than when she does not; but Sir Walter’s continuing in singleness requires explanation.
In this passage, the narrator both describes Lady Russell and challenges the societal tendency to unfavorably judge women who remarry after their first husband's death. In this way, the narrator asserts an opinion, interjecting in a very authorial way instead of passively letting the narrative unfold without comment.
To that end, the narrator's tone is sometimes critical. In Chapter 5, for instance, the narrator criticizes Mary Elliot Musgrove, notably in comparison to her sister Anne:
Mary had not Anne’s understanding nor temper. While well, and happy, and properly attended to, she had great good humour and excellent spirits; but any indisposition sunk her completely. She had no resources for solitude; and inheriting a considerable share of the Elliot self-importance, was very prone to add to every other distress that of fancying herself neglected and ill-used. In person, she was inferior to both sisters, and had, even in her bloom, only reached the dignity of being “a fine girl."
There's a clear critical tone at play in this passage, as the narrator explicitly states that Mary is "inferior" to both of her sisters. Conversely, though, the novel's tone can also be quite sympathetic, as in this admiring description of Anne in Chapter 4:
How eloquent could Anne Elliot have been! how eloquent, at least, were her wishes on the side of early warm attachment, and a cheerful confidence in futurity, against that over-anxious caution which seems to insult exertion and distrust Providence!
It's quite obvious that the narrator thinks highly of Anne and sympathizes with her unmarried status. Elsewhere, though, the narrator takes on an ironic tone as a way of gaining some distance from the characters and the world that the novel satirizes. This often involves humor, as in Chapter 1, when the narrator explains that:
For one daughter, his eldest, [Sir Walter Eliot] would have really given up anything, which he had not been very much tempted to do.
In this instance, Austen uses irony to reveal the difference between Sir Walter’s inflated, vain view of himself and his selfish behavior towards Anne. In showing how things really are rather than how characters like Sir Walter claim them to be, the narrator highlights their flaws as characters and even, at times, seems to offer moral judgment.
The narrator's tone in Persuasion is often formal and authoritative, especially when commenting on characters’ traits and behaviors. In Chapter 2, the narrator uses a formal, authoritative tone when describing Lady Russell:
That Lady Russell, of steady age and character, and extremely well provided for, should have no thought of a second marriage, needs no apology to the public, which is rather part to be unreasonably discontented when a woman does marry again, than when she does not; but Sir Walter’s continuing in singleness requires explanation.
In this passage, the narrator both describes Lady Russell and challenges the societal tendency to unfavorably judge women who remarry after their first husband's death. In this way, the narrator asserts an opinion, interjecting in a very authorial way instead of passively letting the narrative unfold without comment.
To that end, the narrator's tone is sometimes critical. In Chapter 5, for instance, the narrator criticizes Mary Elliot Musgrove, notably in comparison to her sister Anne:
Mary had not Anne’s understanding nor temper. While well, and happy, and properly attended to, she had great good humour and excellent spirits; but any indisposition sunk her completely. She had no resources for solitude; and inheriting a considerable share of the Elliot self-importance, was very prone to add to every other distress that of fancying herself neglected and ill-used. In person, she was inferior to both sisters, and had, even in her bloom, only reached the dignity of being “a fine girl."
There's a clear critical tone at play in this passage, as the narrator explicitly states that Mary is "inferior" to both of her sisters. Conversely, though, the novel's tone can also be quite sympathetic, as in this admiring description of Anne in Chapter 4:
How eloquent could Anne Elliot have been! how eloquent, at least, were her wishes on the side of early warm attachment, and a cheerful confidence in futurity, against that over-anxious caution which seems to insult exertion and distrust Providence!
It's quite obvious that the narrator thinks highly of Anne and sympathizes with her unmarried status. Elsewhere, though, the narrator takes on an ironic tone as a way of gaining some distance from the characters and the world that the novel satirizes. This often involves humor, as in Chapter 1, when the narrator explains that:
For one daughter, his eldest, [Sir Walter Eliot] would have really given up anything, which he had not been very much tempted to do.
In this instance, Austen uses irony to reveal the difference between Sir Walter’s inflated, vain view of himself and his selfish behavior towards Anne. In showing how things really are rather than how characters like Sir Walter claim them to be, the narrator highlights their flaws as characters and even, at times, seems to offer moral judgment.
