ion sometimes has little else to recommend it (Intro, I). What is true of Mariannes classification system is true of her manners in general: In her refusal to place social decorum and propriety above her own impulses and desires, she is absolutely unbending (Intro, II). Marianne is also characterized as being very charming. For example, she believes her poetic effusions to be striking in themselves as well as accurate expressions of her inner life (Intro, VII). In Chapter 16, Marianne, all but swooning over the beauty of dead leaves, exhibits Sentimental-Romantic imprecision at its worst; using words like transporting, feelings, and inspired. What Marianne lacks in originality, she makes up for in enthusiasm. She was sensible and clever; but eager in everything; her sorrows, her joys, could have no moderation. She was generous, amiable and interesting.The Dashwood family seems to be very close-knit. The death of their relative, the disregard to proper inheritance, and even moving to a smaller home, with less servants cannot separate this family. Marianne shows extreme love and devotion for her sisters and her mother. Even when speaking of Elinors love, Edward, Marianne would not wound the feelings of her sister on any account, and yet to say what she did not believe was impossible (17). When the social pressure to say the right thing becomes too great, Marianne resorts to a silence painful to those around her, though not to herself (Intro VI). Marianne ends her conversation with Elinor about Edward for fear of offending (17). Marianne also takes Margaret from the room many times when the conversation becomes too mature, or when the subject of love, or romance arises. Marianne Dashwood, emerges as one of the novels major characters through her treatment and characterization of people as romantic or unromantic and finding the true nature of an individual, embodying of emotion and finding beauty in everything from dead leaves to a passage ...
