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Sense and Sensibility
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This article is about the novel. For other uses, see Sense and Sensibility (disambiguation).
Sense and Sensibility
Title page from the original 1811 edition
Author
Jane Austen
Country
United Kingdom
Language
English
Genre
Romance novel
Publisher
Thomas Egerton, Military Library (Whitehall, London)
Publication date
1811
OCLC
44961362
Followed by
Pride and Prejudice
Sense and Sensibility is a novel by Jane Austen, published in 1811. It was published anonymously; By A Lady appears on the cover page where the author's name might have been. It tells the story of the Dashwood sisters, Elinor and Marianne, both of age to marry.
The novel follows the young women to their new home with their widowed mother, a meagre cottage on the property of a distant relative, where they experience love, romance and heartbreak. The novel is set in southwest England, London and Sussex between 1792 and 1797.[1]
The novel sold out its first print run of 750 copies in the middle of 1813, marking a success for its author, who then had a second print run later that year. The novel continued in publication throughout the 19th, 20th and early 21st centuries.
Contents
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1 Plot summary
2 Characters
2.1 Main characters
2.2 Minor characters
3 Development of the novel
4 Title
5 Critical views
6 Publication history
7 Adaptations
8 References
9 External links
Plot summary[edit]
When Mr Henry Dashwood dies, his house, Norland Park, must pass directly to his son, the son of John Dashwood, the child of the elder Dashwood's first wife. His second wife, Mrs Dashwood, and their daughters, Elinor, Marianne and Margaret, inherit only a small income. On his deathbed, Mr Henry Dashwood extracts a promise from his son John to take care of his half-sisters. John's greedy wife, Fanny, soon persuades him to renege on the promise appealing to his envy for his father's apparent preference for his second family and his fatherly concerns about diminishing his own son's inheritance. She claims that providing the promised help for Mrs. Dashwood and her daughters will unfairly impoverish their son, which is hardly possible given the size of John Dashwood's inheritance and subsequent income. John and Fanny immediately move in as the new owners of Norland, while the Dashwood women are treated as unwelcome guests by a spiteful Fanny. Mrs Dashwood seeks somewhere else to live. In the meantime, Fanny's brother, Edward Ferrars visits Norland and soon forms an attachment with Elinor. Fanny disapproves of the match and offends Mrs Dashwood with the implication that Elinor is motivated by money.
Mrs Dashwood moves her family to Barton Cottage in Devonshire, near the home of her cousin, Sir John Middleton. Their new home is modest but they are warmly received by Sir John and welcomed into local society, meeting his wife, Lady Middleton, his mother-in-law, the garrulous but well-meaning Mrs Jennings, and his friend, Colonel Brandon. Colonel Brandon is attracted to Marianne, and Mrs Jennings teases them about it. Marianne is not pleased as she considers the thirty-five-year-old Colonel Brandon an old bachelor, incapable of falling in love or inspiring love in anyone.
A 19th-century illustration by Hugh Thomson showing Willoughby cutting a lock of Marianne's hair
While out for a walk, Marianne gets caught in the rain and slips and sprains her ankle. The dashing John Willoughby sees the accident and assists her. Marianne quickly comes to admire his good looks and outspoken views on poetry, music, art, and love. His attentions lead Elinor and Mrs Dashwood to suspect that the couple are secretly engaged. Elinor cautions Marianne against her unguarded conduct, but Marianne refuses to check her emotions. Willoughby engages in several intimate activities with Marianne, including taking her to see his home and obtaining a lock of her hair. When an engagement, or at least the announcement of one, seems imminent, Mr Willoughby informs the Dashwoods that his aunt, upon whom he is financially dependent, is sending him to London on business, indefinitely. Marianne is distraught and abandons herself to her sorrow.
Edward Ferrars pays a short visit to Barton Cottage but seems unhappy. Elinor fears that he no longer has feelings for her, but will not show her heartache. After Edward departs, Anne and Lucy Steele, the vulgar cousins of Lady Middleton, come to stay at Barton Park. Lucy informs Elinor in confidence of her secret four-year engagement to Edward Ferrars that started when he was studying with her uncle, and she displays proof. Elinor realises that Lucy's visit and revelations are the result of Lucy's jealousy and cunning calculation, and understands Edward's recent behavior towards her. She acquits Edward of blame and pities him for being held to a loveless engagement by his sense of honour.
Elinor and Marianne accompany Mrs Jennings to London. On arriving, Marianne rashly writes several personal letters to Willoughby, which go unanswered. Willoughby attempts to visit Marianne, but the group is away from home at the time. There is no further communication from Willoughby. When they meet at a dance, Mr Willoughby greets Marianne reluctantly and coldly, to her extreme distress. Soon Marianne receives a curt letter enclosing their former correspondence and love tokens, including a lock of her hair and informing her of his engagement to a young lady with a large fortune. Marianne is devastated. After Elinor has read the letter, Marianne tells her that she and Willoughby were never engaged, but she loved him and thought that he loved her.
Colonel Brandon visits the sisters and reveals to Elinor that Willoughby's aunt disinherited him after she learned that he had seduced, impregnated, then abandoned Brandon's fifteen-year-old ward, Miss Williams. This is why he chose to marry for money rather than love. Brandon was in love with Miss Williams' mother as a young man, when she was his father's ward, but she was forced into an unhappy marriage to Brandon's elder brother that ended in scandal and divorce; Marianne strongly reminds him of her.
The Steele sisters come to London as guests of Mrs Jennings and after a brief acquaintance they are asked to stay at John and Fanny Dashwood's London house. Lucy sees the invitation as a personal compliment, rather than what it is, a slight to Elinor and Marianne who, being family, should have received such invitation first. Too talkative, Anne Steele betrays Lucy's secret. As a result, the Misses Steele are turned out of the house, and Edward is ordered to break off the engagement on pain of disinheritance. Edward refuses to comply and is immediately disinherited in favour of his brother, gaining respect for his conduct and sympathy from Elinor and Marianne. Colonel Brandon shows his admiration by offering Edward the living of Delaford parsonage so that he can marry Lucy as soon as he is ordained.
Mrs Jennings takes Elinor and Marianne to the country to visit her second daughter, Mrs. Palmer. In her misery over Willoughby's marriage, Marianne goes walking in the rain and becomes dangerously ill. Willoughby arrives to repent and reveals to Elinor that his love for Marianne was genuine. He elicits Elinor's pity because his choice has made him unhappy, but she is disgusted by the callous way in which he talks of Miss Williams and of his own wife. He also reveals that his aunt forgave him after his marriage, meaning that if he had married Marianne he would have had both money and love.
When Marianne recovers, Elinor tells her of Willoughby's visit. Marianne realises that she could never have been happy with Willoughby's immoral, erratic, and inconsiderate nature. She values Elinor's conduct in her similar situation and resolves to model herself after Elinor's courage and good sense. Edward arrives and reveals that, after his disinheritance, Lucy jilted him in favour of his now wealthy brother, Robert. Edward and Elinor soon marry, and later Marianne marries Colonel Brandon, having gradually come to love him.
Characters[edit]
Main characters[edit]
Elinor Dashwood – the sensible and reserved eldest daughter of Mr and Mrs Henry Dashwood. She represents the "sense" half of Austen's title Sense and Sensibility. She is 19 years old at the beginning of the book. She becomes attached to Edward Ferrars, the brother-in-law of her elder half-brother, John. She sympathetically befriends Colonel Brandon, Marianne's long-suffering admirer and eventual husband. Always feeling a keen sense of responsibility to her family and friends, she places their welfare and interests above her own, and suppresses her own strong emotions in a way that leads others to think she is indifferent or cold-hearted. For example, even though she is extremely distressed upon learning of Lucy Steele's secret engagement to Edward, Elinor keeps Lucy's secret and does not reveal her discomfort with the information. While the book's narrative style is 3rd person omniscient, it is Elinor's viewpoint that is primarily reflected. Thus, the description of most of the novel's characters and events reflects Elinor's thoughts and insights.
Marianne Dashwood – the romantically inclined and eagerly expressive second daughter of Mr and Mrs Henry Dashwood. Her emotional excesses identify her as the "sensibility" half of Austen's title. She is 16 years old at the beginning of the book. She is the object of the attentions of Colonel Brandon and Mr Willoughby. She is attracted to young, handsome, romantically spirited Willoughby and does not think much of the older, more reserved Colonel Brandon. Marianne undergoes the most development within the book, learning her sensibilities have been selfish. She decides her conduct should be more like that of her elder sister, Elinor.
Edward Ferrars – the elder of Fanny Dashwood's two brothers. He forms an attachment to Elinor Dashwood. Years before meeting the Dashwoods, Ferrars proposed to Lucy Steele, the niece of his tutor. The engagement has been kept secret owing to the expectation that Ferrars' family would object to his marrying Miss Steele. He is disowned by his mother on discovery of the engagement after refusing to give it up.
John Willoughby – a philandering nephew of a neighbour of the Middletons, a dashing figure who charms Marianne and shares her artistic and cultural sensibilities. It is generally presumed by many of their mutual acquaintances that he is engaged to marry Marianne (partly due to her own overly familiar actions, i.e., addressing personal letters directly to him); however, he abruptly ends his acquaintance with the family and leaves town just when an engagement with Marianne seems imminent, and it is later revealed that he becomes engaged to the wealthy Sophia Grey because of the discontinuance of his financial support from his aunt.. He is also contrasted by Austen as being "... a man resembling "the hero of a favourite story"".[2]
Colonel Brandon – a close friend of Sir John Middleton. He is 35 years old at the beginning of the book. He falls in love with Marianne at first sight, as she reminds him of his father's ward whom he had fallen in love with when he was young. He is prevented from marrying the ward because his father was determined she marry his older brother. He was sent into the military abroad to be away from her, and while gone, the girl suffered numerous misfortunes—partly as a consequence of her unhappy marriage. She finally dies penniless and disgraced, and with a natural (i.e., illegitimate) daughter, who becomes the ward of the Colonel. He is a very honourable friend to the Dashwoods, particularly Elinor, and offers Edward Ferrars a living after Edward is disowned by his mother.
Minor characters[edit]
Henry Dashwood – a wealthy gentleman who dies at the beginning of the story. The terms of his estate — entailment to a male heir — prevent him from leaving anything to his second wife and their children. He asks John, his son by his first wife, to look after (meaning ensure the financial security of) his second wife and their three daughters.
Mrs Dashwood – the second wife of Henry Dashwood, who is left in difficult financial straits by the death of her husband. She is 40 years old at the beginning of the book. Much like her daughter Marianne, she is very emotive and often makes poor decisions based on emotion rather than reason.
Margaret Dashwood – the youngest daughter of Mr and Mrs Henry Dashwood. She is thirteen at the beginning of the book. She is also romantic and good-tempered but not expected to be as clever as her sisters when she grows older.
John Dashwood – the son of Henry Dashwood by his first wife. He intends to do well by his half-sisters, but he has a keen sense of avarice, and is easily swayed by his wife.
Fanny Dashwood – the wife of John Dashwood, and sister to Edward and Robert Ferrars. She is vain, selfish, and snobbish. She spoils her son Harry. She is very harsh to her husband's half-sisters and stepmother, especially since she fears her brother Edward is attached to Elinor.
Sir John Middleton – a distant relative of Mrs Dashwood who, after the death of Henry Dashwood, invites her and her three daughters to live in a cottage on his property. Described as a wealthy, sporting man who served in the army with Colonel Brandon, he is very affable and keen to throw frequent parties, picnics, and other social gatherings to bring together the young people of their village. He and his mother-in-law, Mrs Jennings, make a jolly, teasing, and gossipy pair.
Lady Middleton – the genteel, but reserved wife of Sir John Middleton, she is quieter than her husband, and is primarily concerned with mothering her four spoiled children.
Mrs Jennings – mother to Lady Middleton and Charlotte Palmer. A widow who has married off all her children, she spends most of her time visiting her daughters and their families, especially the Middletons. She and her son-in-law, Sir John Middleton, take an active interest in the romantic affairs of the young people around them and seek to encourage suitable matches, often to the particular chagrin of Elinor and Marianne.
Robert Ferrars – the younger brother of Edward Ferrars and Fanny Dashwood, he is most concerned about status, fashion, and his new barouche. He subsequently marries Miss Lucy Steele after Edward is disowned.
Mrs Ferrars – Fanny Dashwood and Edward and Robert Ferrars' mother. A bad-tempered, unsympathetic woman who embodies all the foibles demonstrated in Fanny and Robert's characteristics. She is determined that her sons should marry well. After having disowned her eldest son for his engagement to Lucy Steele, she probably also later disinherited her younger son for his marriage to the self-same girl.
Charlotte Palmer – the daughter of Mrs Jennings and the younger sister of Lady Middleton, Mrs Palmer is jolly, but empty-headed, and laughs at inappropriate things, such as her husband's continual rudeness to her and to others.
Thomas Palmer – the husband of Charlotte Palmer who is running for a seat in Parliament, but is idle and often rude. He is considerate toward the Dashwood sisters.
Lucy Steele – a young, distant relation of Mrs Jennings, who has for some time been secretly engaged to Edward Ferrars. She assiduously cultivates the friendship with Elinor Dashwood and Mrs John Dashwood. Limited in formal education and financial means, she is nonetheless attractive, manipulative, and scheming.
Anne/Nancy Steele – Lucy Steele's elder, socially-inept, and less clever sister.
Miss Sophia Grey – a wealthy and malicious heiress whom Mr Willoughby marries to retain his comfortable lifestyle after he is disinherited by his aunt.
Lord Morton – the father of Miss Morton.
Miss Morton – a wealthy woman whom Mrs Ferrars wants her eldest son, Edward, and later Robert, to marry.
Mr Pratt – an uncle of Lucy Steele and Edward's tutor.
Eliza Williams (Jr.) (daughter) – the ward of Col. Brandon, she is about 15 years old and bore an illegitimate child to John Willoughby. She has the same name as her mother.
Eliza Williams (Sr.) (mother) – the former love interest of Colonel Brandon. Williams was Brandon's father's ward, and was forced by him to marry Brandon's older brother. The marriage was an unhappy one, and it is revealed that her daughter was left as Colonel Brandon's ward when he found his lost love dying in a poorhouse.
Mrs Smith – the wealthy aunt of Mr Willoughby who disowns him for seducing and abandoning the young Eliza Williams, Col. Brandon's ward.
Development of the novel[edit]
Jane Austen wrote the first draft of the novel in the form of a novel-in-letters (epistolary form) sometime around 1795 when she was about 19 years old, and gave it the title Elinor and Marianne. She later changed the form to a narrative and the title to Sense and Sensibility.[3] The title of the book, and that of her next published novel, Pride and Prejudice (1813), may be suggestive of political conflicts of the 1790s, as well as the movement from the Neoclassic to the Romantic Era (Elinor representing the Neoclassic, and Marianne representing the Romantic). [4][clarification needed]
Austen drew inspiration for Sense and Sensibility from other novels of the 1790s that treated similar themes, including Adam Stevenson's "Life and Love" (1785) which he had written about himself and a relationship that was not meant to be. Jane West's A Gossip's Story (1796), which features one sister full of rational sense and another sister of romantic, emotive sensibility, is considered to have been an inspiration as well. West’s romantic sister-heroine also shares her first name, Marianne, with Austen’s. There are further textual similarities, described in a modern edition of West's novel.[5]
Title[edit]
"Sense" means good judgment or prudence, and "sensibility" means sensitivity or emotionality. "Sense" is identified with the character of Elinor, while "sensibility" is identified with the character of Marianne. By changing the title, Austen added "philosophical depth" to what began as a sketch of two characters.[6]
Critical views[edit]
Sense and Sensibility, much like Austen's other fiction, contains a large body of criticism from many different critical approaches. Early reviews of Sense and Sensibility focused on the novel as providing lessons in conduct (which would be debated by many later critics) as well as reviewing the characters. The Norton Critical Edition of Sense and Sensibility, edited by Claudia Johnson, contains a number of reprinted early reviews in its supplementary material. An "Unsigned Review" in the February 1812 Critical Review praises Sense and Sensibility as well written with well supported and drawn characters, realistic, and with a "highly pleasing" plot in which "the whole is just long enough to interest the reader without fatiguing." [7]This review praises Mrs. Dashwood, the mother of the Dashwood sisters, as well as Elinor, an claims that Marianne's extreme sensibility makes her miserable.[7] It claims that Sense and Sensibility has a lesson and moral which is made clear through the plot and the characters.[7] Another "Unsigned Review" from the May 1812 British Critic further emphasizes the novel's function as a type of conduct book. In this author's opinion, Austen's favoring of Elinor's temperament over Marianne's provides the lesson.[7] The review claims that "the object of the work is to represent the effects on the conduct of life, of discreet quiet good sense on the one hand, and an overrefined and excessive susceptibility on the other."[7] The review states that Sense and Sensibility contains "many sober and salutary maxims for the conduct of life" within a "very pleasing and entertaining narrative."[7] W. F. Pollock's 1861 review from Frasier's Magazine, titled "British Novelists," becomes what editor Claudia Johnson terms an "early example of what would become the customary view of Sense and Sensibility." [8] In addition to emphasizing the novel's morality, Pollock reviews the characters in catalogue-like fashion, praising and criticizing them in according to the notion that Austen favors Elinor's point of view and temperament. [8] Pollock even praises Sir John Middleton and Mrs. Jennings, even commenting on the humor of Mr. Palmer and his "silly wife." [8] Pollock criticizes Sir John Dashwood's selfishness without mentioning Fanny's influence upon them. He also criticizes the Steele sisters for their vulgarity. [8]
An anonymous piece titled "Miss Austen" published in 1866 in The Englishwoman's Domestic Magazine departs from other early criticism in its sympathizing with Marianne over Elinor, claiming that Elinor is "too good" of a character. [9] The article also differs from other reviews in that it claims that the "prevailing merit" of the book is not in its sketch of the two sisters; rather, the book is effective because of its "excellent treatment of the subordinate characters."[9] Alice Meynell's 1894 article "The Classic Novelist" in the Pall Mall Gazette also concurs with Austen's attention to small things. Meynell claims that Austen deals in lesser characters and small matters because "that which makes life, art, and work trivial is a triviality of relations." [10] In her attention to secondary characters, Meynell discusses the children's function to "illustrate the folly of their mothers," especially Lady Middleton. [10]
Austen biographer Claire Tomalin argues that Sense and Sensibility has a "wobble in its approach", which developed because Austen, in the course of writing the novel, gradually became less certain about whether sense or sensibility should triumph.[11] Austen characterises Marianne as a sweet lady with attractive qualities: intelligence, musical talent, frankness, and the capacity to love deeply. She also acknowledges that Willoughby, with all his faults, continues to love and, in some measure, appreciate Marianne. For these reasons, some readers find Marianne's ultimate marriage to Colonel Brandon an unsatisfactory ending.[12]
The American scholar Rachel Brownstein wrote that the novel begins with the Dashwood sisters being disinherited and cast of their homes, and the narrator offers in the account of how this came to be that men would always use women and cast them aside when they are not longer convenient; that one's good character counts for nothing in a society dominated by greed, ingratitude and selfishness; and that one can behave badly yet still remain eminently respectable as one has money.[13] Brownstein said that in a world where men are generally greedy, selfish, dishonest, and generally cold is "...a harsh one for young women".[14] The marriage of John and Fanny Dashwood is portrayed as devoid of love and held together only by greed with Mrs. Dashwood being "more narrow-minded and selfish" than her repulsive husband.[15] Likewise, Sir John and Lady Middleton are described as having a "total want of talent and taste" with Sir John's interests being only hunting while Lady Middleton's being spoiling her children.[16] Lady Middleton condemns the Dashwood sisters for being "satirical" despite the fact as the narrator notes that she does not know what the word satirical actually means.[17] Most of the gentry characters are in varying ways stupid, selfish and malicious with for example Mrs. Palmer breaking out laughing and saying "It is so ridiculous!" when she learns her husband has been elected to the House of Commons, Mrs. Jennings telling painfully unfunny jokes at the expense of Edward Ferrars and Sir John laughing at jokes and remarks that he does not really understand..[18]
Brownstein noted the dismal picture the novel draws of well-established gentry families is not counterbalanced by the men who court the Dashwood sisters which has the effect of "further dimming the view of romantic love" as all three men have a "depressing similarity" to make the same mistakes as each had another relationship with another women and each leaves the Dashwood sisters with no explanation.[19] The interchangeability of Colonel Brandon, Willoughby, and Edward Ferrars is stressed by the fact that at various points in the novel the Dashwood sisters keep confusing one of the men for another.[20] Even the mother of the Ferrars brothers has trouble distinguishing between them as both brothers go through an "annihilation".[21] In this regard, Brownstein wrote that Marianne's insistence on an absolute, all-consuming romantic love for only one man once with no "second attachments" to another man ever being possible seems quixotic and absurd, all the more as Elinor points out that their father had married twice..[22] Brownstein noted that while Elinor is "judgemental" about Marianne's romantic creed, Colonel Brandon is more understanding, all the more so as Marianne reminds him of a woman he once loved and lost.[23]
The Dashwood sisters stand apart from this world as being virtually the only characters capable of intelligent thought and any sort of deep thinking.[24] Brownstein wrote that the differences between the Dashwood sisters have been exaggerated, and in fact the sisters are more alike than they are different, with Elinor having "excellent heart" and capable of the same romantic passions as Marianne feels while Marianne has much sense as well.[25] Elinor is more reserved, more polite and less impulsive than Marianne who loves poetry, taking walks across picturesque landscapes and believes in intense romantic relationships, but it is very closeness between the sisters that allows these differences to emerge during their exchanges..[26]
Many critics explore Sense and Sensibility in relation to authors and genres popular during Austen's time. One of the most popular forms of fiction in Austen's time was epistolary fiction. This is a style of writing in which all of the action, dialogue, an character interactions are reflected through letters sent from one or more of the characters. In her book Romantic Correspondence: Women, Politics, and the Fiction of Letters, Mary Favret explores Austen's fraught relationship with epistolary fiction, claiming that Austen "wrestled with epistolary form" in previous writings and, with the publication of Sense and Sensibility, "announced her victory over the constraints of the letter." [27] Favret contends that Austen's version of the letter separates her from her "admired predecessor, Samuel Richardson" in that Austen's letters are "a misleading guide to the human heart which, in the best instances, is always changing and adapting." [27] According to Favret, with the character of Elinor Dashwood is an "anti-epistolary heroine" whose "inner world" of thoughts and feelings does not find "direct expression in the novel, although her point of view controls the story." [27] Sense and Sensibility establishes what Favret calls a "new privacy" in the novel, which was constrained by previous notions of the romance of letters. [27] This new privacy is a "less constraining mode of narration" in which Austen's narrator provides commentary on the action, rather than the characters themselves through the letters. [27]Favret claims that in Sense and Sensibility, Austen wants to "recontextualize" the letter and bring it into a "new realism."[27] Austen does so by imbuing the letter with dangerous power when Marianne writes to Willoughby; both their love and the letter "prove false."[27] Additionally, Favret claims that Austen uses both of the sisters' letter writing to emphasize the contrasts in their personalities. [27] When both of the sisters write letters upon arriving in London, Elinor's letter is the "dutiful letter of the 'sensible sister'" and Marianne writes a "vaguely illicit letter" reflecting her characterization as the "sensitive" sister. [27] What is perhaps most striking about Favret's analysis is that she notes that the lovers who write to one another never unite with each other.[27]
A common theme of Austen criticism has been on the legal aspects of society and the family, particularly wills, the rights of first and second sounds, and lines of inheritance. Gene Ruoff's book Jane Austen's Sense and Sensibility explores these issues in an entire book length discussion on the novel. Ruoff's first two chapters deal extensively on the subject of wills and on the discourse of inheritance. These topics reveal what Ruoff calls "the cultural fixation on priority of male birth." [28] According to Ruoff, male birth is by far the dominant issue in these legal conversations. Ruoff observes that, within the linear family, the order of male birth decides issues of eligibility and merit. [28] When Robert Ferrars becomes the eldest son, Edward is no longer appealing to his "opportunistic fiance" Lucy, who quickly turns her attention to the foppish Robert and "entraps him" in order to secure the inheritance for herself. [28] According to Ruoff, Lucy is specifically aiming for a first son because of the monetary advantage for a man in this birth order. [28] William Galperin, in his book The History Austen, comments on the tendency of this system of patriarchal inheritance and earning as working to ensure the vulnerability of women. [29] Because of this vulnerability, Galperin contends that Sense and Sensibility shows marriage as the only practical solution "against the insecurity of remaining an unmarried woman." [29]
Feminist critics have long been engaged in conversations about Jane Austen, and Sense in Sensibility has figured in these discussions, especially around the patriarchal system of inheritance and earning. Sandra M. Gilbert and Susan Gubar's seminal feminist work The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Imagination contains several discussions of Sense and Sensibility. Gilbert and Gubar read the beginning Sense and Sensibility as a retelling of King Lear from a female perspective and contend that these "reversals imply that male traditions need to be evaluated and reinterpreted from a female perspective."[30] Gilbert and Gubar argue that Austen explores the effects of patriarchal control over women in which women cannot earn or inherit their money and use Sense and Sensibility as an example of this as the male heir, Mr. John Dashwood, deprives his sisters from their home as well as promised income. They also point to the "despised" Mrs. Ferrars' tampering with the patriarchal line of inheritance in her disowning of her eldest son, Edward Ferrars, as proof that this construction is ultimately arbitrary.[30] Gilbert and Gubar contend that while Sense and Sensibility's ultimate message is that "young women like Marianne and Elinor must submit to powerful conventions of society by finding a male protector," women such as Mrs. Ferrars and Lucy Steele demonstrate how women can "themselves become agents of repression, manipulators of conventions, and survivors." [30] In order to protect themselves and their own interests, Mrs. Ferrars and Lucy Steele must participate in the same patriarchal system that oppresses them.
In her chapter "Sense and Sensibility: Opinions Too Common and Too Dangerous" from her book Jane Austen: Women, Politics, and the Novel, Claudia Johnson also performs a feminist reading of Sense and Sensibility. She differs from previous critics, especially the earliest ones, in her contention that Sense and Sensibility not, as it is often assumed to be, a "dramatized conduct book" that values "female prudence" (associated with Elinor's sense) over "female impetuosity" (associated with Marianne's sensibility).[31] Rather, Johnson sees Sense and Sensibility as a "dark and disenchanted novel" that views "institutions of order" such as property, marriage, and family in a negative light, making the novel the "most attuned to social criticism" out of Austen's works. [31] According to Johnson, Sense and Sensibility critically examines the codes of propriety as well as their enforcement by the community. [31] Key to Austen's criticism of society, per Johnson's argument, is the depiction of the unfair marginalization of women due to the "death or simple absence of male protectors." [31] Additionally, the male characters in Sense and Sensibility are depicted unfavorably. Johnson calls the gentlemen in Sense and Sensibility "uncommitted sorts" who "move on, more or less unencumbered, by human wreckage from the past" [31] In other words, the men do not feel a responsibility to anyone else. Johnson compares Edward to Willoughby in this regard, claiming that all of the differences between them as individuals do not hide the fact that their failures are actually identical; Johnson calls them both "weak, duplicitous, and selfish," lacking the honesty and forthrightness with which Austen endows other "exemplary gentlemen" in her work. [31] Johnson's comparison of Edward and Willoughby reveals the depressing picture about gentlemen presented in the novel.
Mary Poovey's analysis in The Proper Lady and the Woman Writer: Ideology as Style in the Works of Mary Wollstonecraft, Mary Shelley and Jane Austen confers with Johnson's on the dark tone of Sense and Sensibility. Poovey contends that Sense and Sensibility has a "somber tone" in which conflict breaks out between Austen's engagement with her "self-assertive characters" and the moral codes necessary to control their potentially "anarchic" desires. [32] Austen shows, according to Poovey, this conflict between individual desire and the restraint of moral principles through the character of Elinor herself. [32] Except for Elinor, all of the female characters in Sense and Sensibility experience some kind of female excess. Poovey argues that while Austen does recognize "the limitations of social institutions," she demonstrates the necessity of controlling the "dangerous excesses of female feeling" rather than liberating them.[32] She does so by demonstrating that Elinor's self-denial, especially in her keeping of Lucy Steele's secret and willingness to help Edward, even though both of these actions were hurtful to her, ultimately contribute to her own contentment and that of others. [32] In this way, Poovey contends that Austen suggests that the submission to society that Elinor demonstrates is the proper way to achieve happiness in life.
Sense and Sensibility criticism also includes ecocritical approaches. Susan Rowland's article "The 'Real Work': Ecocritical Alchemy and Jane Austen's Sense and Sensibility" studies the effects of alienation upon Edward and Ferrars. Edward is alienated from society because he lacks what Rowland calls "useful employment."[33] According to Rowland, Edward's condition represents problems with the history of work in Western industrialized societies. Edward's alienation from work also represents "the culture evolution of work" as a "progressive estrangement from nonhuman nature." [33] Rowland argues that human culture estranges people from nature rather than returning them to it. Marianne also suffers from this estrangement of nature as she is ripped from her childhood home where she enjoyed walking the grounds and looking at trees.[33] Marianne's connection to the natural setting of her childhood home is reflected in her distraught reaction when she learns that the new owners have cut down "inconvenient trees" just to serve the economy of the household. [33] Rowland thus connects both Edward's and Marianne's progressive discomfort throughout the novel to their alienation from nature.
Publication history[edit]
The three volumes of the first edition of Sense and Sensibility, 1811
In 1811, Thomas Egerton of the Military Library publishing house in London accepted the manuscript for publication in three volumes. Austen paid to have the book published and paid the publisher a commission on sales. The cost of publication was more than a third of Austen's annual household income of £460 (about £15,000 in 2008 currency).[34] She made a profit of £140 (almost £5,000 in 2008 currency)[34] on the first edition, which sold all 750 printed copies by July 1813. A second edition was advertised in October 1813.
The novel has been in continuous publication through to the 21st century as popular and critical appreciation of all the novels by Jane Austen slowly grew. The novel was translated into French by Madame Isabelle de Montolieu as Raison et Sensibilité.[35] Montolieu had only the most basic knowledge of English, and her translations were more of "imitations" of Austen's novels as Montolieu had her assistants provide a summary of Austen's novels, which she then translated into an embellished French that often radically altered Austen's plots and characters.[36] The "translation" of Sense and Sensibility by Montolieu changes entire scenes and characters, for example having Marianne call Willoughby an "angel" and an "Adonis" upon first meeting him, lines that are not in the English original.[37] Likewise, the scene where Mrs. Dashwood criticizes her husband for planning to subsidise his widowed stepmother might be disadvantageous to "our little Harry", Mrs. Dashwood soon forgets about Harry and it is made apparent her objections are founded in greed; Montolieu altered the scene by having Mrs. Dashwood continuing to speak of "our little Harry" as the basis of her objections, completely changing her motives.[38] When Elinor learns the Ferrars who married Lucy Steele is Robert, not Edward, Montolieu adds in a scene where Edward, the Dashwood sisters and their mother all break down in tears where clasping hands that was not in the original..[39] Austen has the marriage of Robert Ferrars and Lucy Steele end well while Montolieu changes the marriage into a failure.[40]
Adaptations[edit]
Film and television adaptations:
• 1971: This adaptation for BBC television was dramatized by Denis Constanduros and directed by David Giles.
• 1981: This seven-episode TV serial was directed by Rodney Bennett.
• 1995: This theatrical release was adapted by Emma Thompson and directed by Ang Lee.
• 2000: A Tamil version called Kandukondain Kandukondain stars Ajith Kumar (Edward Ferrars), Tabu (Elinor), and Aishwarya Rai.[41]
• 2008: This three-episode BBC TV series was adapted by Andrew Davies and directed by John Alexander.
• 2008: The film Material Girls is a loose adaptation of the novel, based on a script by John Quaintance and directed by Martha Coolidge.
• 2011: The Spanish- and English-language film From Prada to Nada is a loose adaptation of the novel directed by Angel Gracia.
• 2011: The Scents and Sensibility (theatrically released in Brazil as Aromas e Sensibilidade) is a loose adaptation of the novel directed by Brian Brough.

Stage adaptations:
• 2013: Sense & Sensibility, the Musical (book and lyrics by Jeffrey Haddow and music by Neal Hampton) received its world premiere by the Denver Center Theatre Company in April 2013, as staged by Tony-nominated director Marcia Milgrom Dodge.
• 2014: The Utah Shakespeare Festival presented Joseph Hanreddy and J.R. Sullivan's adaptation.
• 2016: The Bedlam theatrical troupe mounted a well-received minimalist production that was adapted by Kate Hamill and directed by Eric Tucker, from a repertory run in 2014.[42].

Novel:
• In 2013, author Joanna Trollope published Sense & Sensibility: A Novel[43] as a part of series called The Austen Project by the publisher, bringing the characters into the present day and providing modern satire.[44]
• 2009: Sense and Sensibility and Sea Monsters is a mashup parody novel by Ben H. Winters, with Jane Austen credited as co-author.
References[edit]
Jump up ^ Le Faye, Deirdre (2002). Jane Austen: The World of Her Novels. London: Frances Lincoln Publishers. p. 155. ISBN 0-7112-1677-0.
Jump up ^ Auerbach, Emily (2004). Searching for Jane Austen. London, England: The University of Wisconsin Press. p. 112. ISBN 0-299-20180-5 – via Google, Google Books. "...a man resembling "the hero of a favourite story"".
Jump up ^ Le Faye, Deirdre (2002). Jane Austen: The World of Her Novels. London: Frances Lincoln Publishers. p. 154. ISBN 0-7112-1677-0.
Jump up ^ Murray, Christopher John (2004). Encyclopedia of the Romantic Era: A-K. 1. Taylor and Francis Books. p. 41. ISBN 1-57958-361-X.
Jump up ^ Looser, Devoney (2015). Introduction. A Gossip's Story,. By West, Jane. Looser, Devoney; O'Connor, Melinda; Kelly, Caitlin, eds. Richmond, Virginia: Valancourt Books. ISBN 978-1943910151.
Jump up ^ Bloom, Harold (2009). Bloom's Modern Critical Reviews: Jane Austen. New York: Infobase Publishing. p. 252. ISBN 978-1-60413-397-4.
^ Jump up to: a b c d e f Anonymous, Anonymous (2002). "Early Views". Sense and Sensibility: Authoritative Text, Contexts, Criticism. New York: Norton. pp. 313–324.
^ Jump up to: a b c d Pollock, W.F. (2002). ""British Novelists"". In Johnson, Claudia. Sense and Sensibility: Authoritative Text, Contexts, Criticism. New York: Norton. pp. 313–324.
^ Jump up to: a b Anonymous, Anonymous (2002). ""Miss Austen"". Sense and Sensibility: Authoritative Text, Contexts, Criticism. New York: Norton. p. 318.
^ Jump up to: a b Meynell, Alice (2002). ""The Classic Novelist"". Sense and Sensibility: Authoritative Text, Contexts, Criticism. New York: Norton. pp. 320–321.
Jump up ^ Tomalin, Claire (1997). Jane Austen: A Life. New York: Random House. p. 155. ISBN 0-679-44628-1.
Jump up ^ Tomalin, Claire (1997). Jane Austen: A Life. New York: Random House. pp. 156–157. ISBN 0-679-44628-1.
Jump up ^ Brownstein, Rachel "Northanger Abbey, Sense and Sensibility, Pride and Prejudice" pages 32-57 from The Cambridge Companion to Jane Austen, Cambridge: Cambridge University Press, 1997 page 45.
Jump up ^ Brownstein, Rachel "Northanger Abbey, Sense and Sensibility, Pride and Prejudice" pages 32-57 from The Cambridge Companion to Jane Austen, Cambridge: Cambridge University Press, 1997 page 46.
Jump up ^ Brownstein, Rachel "Northanger Abbey, Sense and Sensibility, Pride and Prejudice" pages 32-57 from The Cambridge Companion to Jane Austen, Cambridge: Cambridge University Press, 1997 page 46.
Jump up ^ Brownstein, Rachel "Northanger Abbey, Sense and Sensibility, Pride and Prejudice" pages 32-57 from The Cambridge Companion to Jane Austen, Cambridge: Cambridge University Press, 1997 page 46.
Jump up ^ Brownstein, Rachel "Northanger Abbey, Sense and Sensibility, Pride and Prejudice" pages 32-57 from The Cambridge Companion to Jane Austen, Cambridge: Cambridge University Press, 1997 page 43.
Jump up ^ Brownstein, Rachel "Northanger Abbey, Sense and Sensibility, Pride and Prejudice" pages 32-57 from The Cambridge Companion to Jane Austen, Cambridge: Cambridge University Press, 1997 page 42.
Jump up ^ Brownstein, Rachel "Northanger Abbey, Sense and Sensibility, Pride and Prejudice" pages 32-57 from The Cambridge Companion to Jane Austen, Cambridge: Cambridge University Press, 1997 page 47.
Jump up ^ Brownstein, Rachel "Northanger Abbey, Sense and Sensibility, Pride and Prejudice" pages 32-57 from The Cambridge Companion to Jane Austen, Cambridge: Cambridge University Press, 1997 page 47.
Jump up ^ Brownstein, Rachel "Northanger Abbey, Sense and Sensibility, Pride and Prejudice" pages 32-57 from The Cambridge Companion to Jane Austen, Cambridge: Cambridge University Press, 1997 page 47.
Jump up ^ Brownstein, Rachel "Northanger Abbey, Sense and Sensibility, Pride and Prejudice" pages 32-57 from The Cambridge Companion to Jane Austen, Cambridge: Cambridge University Press, 1997 page 48.
Jump up ^ Brownstein, Rachel "Northanger Abbey, Sense and Sensibility, Pride and Prejudice" pages 32-57 from The Cambridge Companion to Jane Austen, Cambridge: Cambridge University Press, 1997 page 48.
Jump up ^ Brownstein, Rachel "Northanger Abbey, Sense and Sensibility, Pride and Prejudice" pages 32-57 from The Cambridge Companion to Jane Austen, Cambridge: Cambridge University Press, 1997 page 43.
Jump up ^ Brownstein, Rachel "Northanger Abbey, Sense and Sensibility, Pride and Prejudice" pages 32-57 from The Cambridge Companion to Jane Austen, Cambridge: Cambridge University Press, 1997 page 43.
Jump up ^ Brownstein, Rachel "Northanger Abbey, Sense and Sensibility, Pride and Prejudice" pages 32-57 from The Cambridge Companion to Jane Austen, Cambridge: Cambridge University Press, 1997 page 43.
^ Jump up to: a b c d e f g h i j Favret, Mary (1993). Romantic Correspondence: Women, Politics, and the Fiction of Letters. Cambridge University Press. pp. 145–153.
^ Jump up to: a b c d Ruoff, Gene (1992). Jane Austen's Sense and Sensibility. Harvester Wheatshaff.
^ Jump up to: a b Galperin, William H. (2003). The History Austen. University of Pennsylvania Press.
^ Jump up to: a b c Gilbert, Sandra M.; Gubar, Susan (1979). The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. Yale University Press. pp. 120–172.
^ Jump up to: a b c d e f Johnson, Claudia (1988). ""Sense and Sensibility: Opinions Too Common and Too Dangerous"". Jane Austen: Women, Politics, and the Novel. University of Chicago Press. pp. 49–72.
^ Jump up to: a b c d Poovey, Mary (1984). The Proper Lady and the Woman Writer: Ideology as Style in the Works of Mary Wollstonecraft, Mary Shelley and Jane Austen. University of Chicago Press.
^ Jump up to: a b c d Rowland, Susan (2013). ""The 'Real Work': Ecocritical Alchemy and Jane Austen's Sense an Sensibility."". Interdisciplinary Studies in Literature and Environment. 20 (2): 318–322 – via JSTOR.
^ Jump up to: a b Sanborn, Vic (10 February 2008). "Pride and Prejudice Economics: Or Why a Single Man with a Fortune of £4,000 Per Year is a Desirable Husband". Jane Austen's World. Retrieved 27 August 2016.
Jump up ^ King, Noel "Jane Austen in France" from Nineteenth-Century Fiction pages 1–28, Vol. 8, No. 1, June 1953 page 5.
Jump up ^ King, Noel "Jane Austen in France" from Nineteenth-Century Fiction pages 1–28, Vol. 8, No. 1, June 1953 page 5.
Jump up ^ King, Noel "Jane Austen in France" from Nineteenth-Century Fiction pages 1–28, Vol. 8, No. 1, June 1953 page 9.
Jump up ^ King, Noel "Jane Austen in France" from Nineteenth-Century Fiction pages 1–28, Vol. 8, No. 1, June 1953 pages 9-10.
Jump up ^ King, Noel "Jane Austen in France" from Nineteenth-Century Fiction pages 1–28, Vol. 8, No. 1, June 1953 page 16.
Jump up ^ King, Noel "Jane Austen in France" from Nineteenth-Century Fiction pages 1–28, Vol. 8, No. 1, June 1953 page 18.
Jump up ^ Literary Intermediality: The Transit of Literature Through the Media Circuit. Peter Lang. 2007. p. 76. ISBN 9783039112234.
Jump up ^ Brantley, Ben. "Review: A Whirlwind of Delicious Gossip in 'Sense & Sensibility'". New York Times. Retrieved 14 April 2016.
Jump up ^ Trollope, Joanna (2013). Sense & Sensibility: A Novel. HarperCollins. ISBN 978-0007461769.
Jump up ^ Craig, Amanda (18 October 2013). "Book review: Sense & Sensibility, By Joanna Trollope". The Independent. Retrieved 15 September 2016.
External links[edit]
Wikisource has original text related to this article:
Sense and Sensibility
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Sense and Sensibility at Project Gutenberg
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The Sixth Sense
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see The Sixth Sense (disambiguation).
The Sixth Sense
Theatrical release poster
Directed by
M. Night Shyamalan
Produced by
Frank Marshall
Kathleen Kennedy
Barry Mendel
Written by
M. Night Shyamalan
Starring
Bruce Willis
Toni Collette
Olivia Williams
Haley Joel Osment
Music by
James Newton Howard
Cinematography
Tak Fujimoto
Edited by
Andrew Mondshein
Production
company
Hollywood Pictures
Spyglass Entertainment
The Kennedy/Marshall Company
Barry Mendel Productions
Distributed by
Buena Vista Pictures Distribution
Release date
August 2, 1999 (1999-08-02) (Prince Music Theater)
August 6, 1999 (1999-08-06) (United States)
Running time
107 minutes
Country
United States
Language
English
Budget
$40 million[1]
Box office
$672.8 million[1]
The Sixth Sense is a 1999 American supernatural horror film written and directed by M. Night Shyamalan. The film tells the story of Cole Sear (Haley Joel Osment), a troubled, isolated boy who is able to see and talk to the dead, and an equally troubled child psychologist named Malcolm Crowe (Bruce Willis) who tries to help him. The film established Shyamalan as a writer and director, and introduced the cinema public to his traits, most notably his affinity for surprise endings.
Released by Hollywood Pictures on August 6, 1999, the film was well-received by critics; praise was given to its acting performances (particularly Willis, Osment, and Toni Collette), atmosphere, and twist conclusion. The Sixth Sense was the second-highest-grossing film of 1999 (behind Star Wars: Episode I – The Phantom Menace), taking about $293 million in the US and $672 million in other markets. This made it the highest-grossing horror film (in unadjusted dollars) until that time; it was surpassed by It in 2017.
The film was nominated for six Academy Awards, including Best Picture, Best Director for Shyamalan, Best Original Screenplay, Best Supporting Actor for Osment, and Best Supporting Actress for Collette.
Contents
[hide]
1 Plot
2 Cast
3 Production
4 Reception
4.1 Box office
4.2 Critical response
4.3 Accolades
4.4 American Film Institute lists
5 See also
6 References
7 External links
Plot[edit]
Malcolm Crowe, a child psychologist in Philadelphia, returns home one night with his wife, Anna, after having been honored for his work. Anna tells Crowe that everything is second to his work, and that she believes he is truly gifted. A young man then appears in their bathroom, and accuses Crowe of failing him. Crowe recognizes him as Vincent Grey, a former patient whom he treated as a child for hallucinations. Vincent shoots his former doctor before killing himself.
The next fall, Crowe begins working with another patient, nine-year-old Cole Sear, whose case is similar to Vincent's. Crowe becomes dedicated to the boy, though he is haunted by doubts over his ability to help him after his failure with Vincent. Meanwhile, he and his wife seldom, if ever, speak or do anything together. Crowe feels he must help Cole in order to rectify his failure to help Vincent and reconcile with his wife. Cole's mother, Lynn worries about his social stamina, especially after seeing signs of physical abuse. Cole eventually confides his secret to Crowe in the iconic line: "I see dead people." He sees ghosts, who walk around like the living unaware they are dead.
At first, Crowe thinks Cole is delusional and considers dropping his case. Remembering Vincent, the psychologist listens to an audiotape from a session with Vincent when he was a child. On the tape, when Crowe leaves the room, Vincent begins crying. Turning up the volume, Crowe hears a weeping man begging for help in Spanish, and now believes that Cole is telling the truth and that Vincent may have had the same ability. He suggests to Cole that he should try to find a purpose for his gift by communicating with the ghosts and perhaps aid them with their unfinished business. At first, Cole is unwilling since the ghosts terrify and sometimes even threaten him, but he finally decides to attempt helping.
Cole talks to one of the ghosts, a young girl named Kyra who recently died after a chronic illness. He goes with Crowe to her funeral reception at her home, where Kyra directs him to a box holding a videotape, which he then gives to her father. The tape shows Kyra's mother poisoning her daughter's food. By proving she was a victim of Munchausen syndrome by proxy, Cole has saved Kyra's younger sister, the mother's next victim.
Learning to live with the ghosts he sees, Cole begins to fit in at school and is cast as the lead in the school play, which Crowe attends. The doctor and patient depart on positive terms and Cole suggests to Crowe that he should try speaking to Anna while she is asleep. Later, while stuck in traffic, Cole confesses his secret to his mother, saying that someone died in an accident ahead of their traffic and he knows because the person is next to him. Although his mother at first does not believe him, Cole proves his ability to her by talking about how his grandmother visits him. He describes how his grandmother saw his mother in a dance performance, even though Lynn thought her mother was not there. He further relays the answer to a question his mother privately asked at her mother's grave, "Every day." When Cole asks what question she asked, his mother tearfully answers, "Do I make you proud?" They hug.
Crowe returns home, where he finds his wife asleep with their wedding video playing. While still asleep, Anna asks her husband why he left her, and drops Crowe's wedding ring, which he suddenly discovers he has not been wearing. He remembers what Cole said about ghosts and realizes that he has actually been dead the whole time. Because of Cole's efforts, Crowe's unfinished business – rectifying his failure to understand and help Vincent – is finally complete. Crowe fulfills the second reason he returned; to tell his wife she was never second, and that he loves her. His goal complete, he is free to leave the world of the living.
Cast[edit]
Bruce Willis as Malcolm Crowe
Haley Joel Osment as Cole Sear
Toni Collette as Lynn Sear
Olivia Williams as Anna Crowe
Donnie Wahlberg as Vincent Grey
Glenn Fitzgerald as Sean
Mischa Barton as Kyra Collins
Trevor Morgan as Tommy Tammisimo
Bruce Norris as Mr. Stanley Cunningham
Angelica Page as Mrs. Collins
Greg Wood as Mr. Collins
M. Night Shyamalan as Dr. Hill
Peter Tambakis as Darren
Jeffrey Zubernis as Bobby
Production[edit]
David Vogel, then-president of production of The Walt Disney Studios, read Shyamalan's spec script and instantly loved it. Without obtaining corporate approval, Vogel bought the rights to the script, despite the high price of $3 million and the stipulation that Shyamalan could direct the film.[2] Disney later dismissed Vogel from his position at the studio, with Vogel leaving the company shortly thereafter.[3] Disney—apparently in a show of little confidence in the film—sold the production rights to Spyglass Entertainment, while retaining the distribution rights and 12.5% of the film's box office receipt.
The color red is intentionally absent from most of the film, but it is used prominently in a few isolated shots for "anything in the real world that has been tainted by the other world"[4] and "to connote really explosively emotional moments and situations".[5] Examples include the door of the church where Cole seeks sanctuary; the balloon, carpet, and Cole's sweater at the birthday party; the tent in which he first encounters Kyra; the volume numbers on Crowe's tape recorder; the doorknob on the locked basement door where Malcolm's office is located; the shirt that Anna wears at the restaurant; Kyra's mother's dress at the wake; and the shawl wrapped around the sleeping Anna.
All of the clothes Malcolm wears during the film are items he wore or touched the evening before his death, which included his overcoat, his blue rowing sweatshirt and the different layers of his suit. Though the filmmakers were careful about clues of Malcolm's true state, the camera zooms slowly towards his face when Cole says, "I see dead people." In a special feature, the filmmakers mention they initially feared this would be too much of a giveaway, but decided to leave it in.[6]
Marisa Tomei was considered for the role of Lynn Sear.[7]
Reception[edit]
Box office[edit]
The film had a production budget of approximately $40 million (plus $25 million for prints and advertising). It grossed $26.6 million in its opening weekend and spent five weeks as the No. 1 film at the U.S. box office.[1] It earned $293,506,292 in the United States and a worldwide gross of $672,806,292, ranking it 35th on the list of box-office money earners in the U.S. as of April 2010.[8] Box Office Mojo estimates that the film sold over 57.5 million tickets in the US.[9] In the United Kingdom, it was given at first a limited release at 9 screens, and entered at No. 8 before climbing up to No. 1 the next week with 430 theatres playing the film.[10][11]
Critical response[edit]
The Sixth Sense received positive reviews;[12] Osment in particular was widely praised for his performance.[13] Rotten Tomatoes, a review aggregator, reports that 85% of 148 surveyed critics gave the film a positive review; the average rating was 7.6/10. The site's consensus reads: "M. Night Shayamalan's The Sixth Sense is a twisty ghost story with all the style of a classical Hollywood picture, but all the chills of a modern horror flick."[14] Metacritic rated it 64 out of 100 based on 35 reviews, meaning “generally favorable reviews”.[15] Audiences polled by CinemaScore gave the film an average grade of "A-" on an A+ to F scale.[16]
By vote of the members of the Science Fiction and Fantasy Writers of America, The Sixth Sense was awarded the Nebula Award for Best Script during 1999.[17] The film was No. 71 on Bravo's 100 Scariest Movie Moments, for the scene where Cole encounters a female ghost in his tent. It was named the 89th best American film of all time in a 2007 poll by the American Film Institute.
The line "I see dead people" from the film became a popular catchphrase after its release, scoring No. 44 on AFI's 100 Years...100 Movie Quotes. There have been various parodies of this quote.
The Sixth Sense also scored 60th place on AFI's 100 Years...100 Thrills, honoring America's most "heart pounding movies".
Accolades[edit]
Further information: List of accolades received by The Sixth Sense
The Sixth Sense has received numerous awards and nominations, with Academy Award nomination categories ranging from those honoring the film itself (Best Picture), to its writing, editing, and direction (Best Director, Best Editing, and Best Original Screenplay), to its cast's performance (Best Supporting Actor and Best Supporting Actress). Especially lauded was the supporting role of actor Haley Joel Osment, whose nominations include an Academy Award,[18] a Broadcast Film Critics Association Award,[19] and a Golden Globe Award.[20] Overall, The Sixth Sense was nominated for six Academy Awards and four British Academy Film Awards, but won none.[18][21] The film received three nominations from the People's Choice Awards and won all of them, with lead actor Bruce Willis being honored for his role.[22] The Satellite Awards nominated the film in four categories, with awards being received for writing (M. Night Shyamalan) and editing (Andrew Mondshein).[23] Supporting actress Toni Collette was nominated for both an Academy Award and a Satellite award for her role in the film.[18][23] James Newton Howard was honored by the American Society of Composers, Authors and Publishers for his composition of the music for the film.[24]
In 2013, the Writers Guild of America ranked the screenplay #50 on its list of 101 Greatest Screenplays ever written.[25]
American Film Institute lists[edit]
AFI's 100 Years...100 Thrills – No. 60
AFI's 100 Years...100 Movie Quotes:
"I see dead people." – No. 44
AFI's 100 Years...100 Movies (10th Anniversary Edition) – No. 89
See also[edit]
List of ghost films
References[edit]
^ Jump up to: a b c "The Sixth Sense (1999)". Box Office Mojo. Retrieved December 27, 2012.
Jump up ^ Weiner, Allison Hope (June 2, 2008). "Shyamalan's Hollywood Horror Story, With Twist". The New York Times. Retrieved December 30, 2014.
Jump up ^ Bart, Peter (July 2, 2012). "Moguls make switch after power turns off: Is there life after Hollywood?". Variety. Chicago Tribune. Retrieved December 30, 2014.
Jump up ^ Screenwriter/director M. Night Shyamalan, "Rules and Clues" bonus featurette on the DVD.
Jump up ^ Producer Barry Mendel, "Rules and Clues" bonus featurette on the DVD.
Jump up ^ Producer Frank Marshall, "Rules and Clues" bonus featurette on the DVD.
Jump up ^ Cormier, Roger (6 August 2016). "15 Twisted Facts About The Sixth Sense". Mental Floss. Retrieved 10 November 2017.
Jump up ^ "The Sixth Sense – Box Office Data". Retrieved 2008-03-09.
Jump up ^ "The Sixth Sense (1999)". Box Office Mojo. Retrieved May 31, 2016.
Jump up ^ "United Kingdom Box Office Returns for the weekend starting 5 November 1999". Internet Movie Database. Retrieved 2008-01-27.
Jump up ^ "United Kingdom Box Office Returns for the weekend starting 12 November 1999". Internet Movie Database. Retrieved 2008-01-27.
Jump up ^ Natale, Richard (1999-08-09). "'Sense' Shows Its Powers". Los Angeles Times. Retrieved 2015-04-08.
Jump up ^ King, Susan (1999-08-13). "Actor Has a Sense for Spooky Role". Los Angeles Times. Retrieved 2015-04-08.
Jump up ^ "The Sixth Sense (1999)". Rotten Tomatoes. Retrieved 2014-10-28.
Jump up ^ "The Sixth Sense". Metacritic. Retrieved 2014-10-28.
Jump up ^ "CinemaScore". cinemascore.com.
Jump up ^ "Nebula Awards Winners by Category". Locus. Archived from the original on December 4, 2014. Retrieved October 28, 2014.
^ Jump up to: a b c "The Sixth Sense – 1999 Academy Awards Profile". Box Office Mojo. Retrieved December 23, 2010.
Jump up ^ Ellen A. Kim (December 22, 1999). "Another Day, Another Movie Award". Hollywood.com. Retrieved December 23, 2010.
Jump up ^ "The Sixth Sense". Hollywood Foreign Press Association. Archived from the original on September 29, 2006. Retrieved December 23, 2010.
Jump up ^ "Awards Database". British Academy Film Awards. Retrieved December 23, 2010.
Jump up ^ "'Sixth Sense' tops People's Choice Awards". Seattle Post-Intelligencer. Associated Press. January 10, 2000. Retrieved December 23, 2010.
^ Jump up to: a b "2000 4th Annual SATELLITE Awards". International Press Academy. Archived from the original on January 6, 2010. Retrieved December 23, 2010.
Jump up ^ Don Heckman (April 27, 2000). "Howard, Donen Honored by ASCAP". Los Angeles Times.
Jump up ^ Savage, Sophia (February 27, 2013). "WGA Lists Greatest Screenplays, From 'Casablanca' and 'Godfather' to 'Memento' and 'Notorious'". Retrieved June 9, 2017.
External links[edit]
Wikiversity has learning resources about What is the sixth sense?
Wikiquote has quotations related to: The Sixth Sense
The Sixth Sense on IMDb
The Sixth Sense at the American Film Institute Catalog
The Sixth Sense at AllMovie
The Sixth Sense at Rotten Tomatoes
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Praying with Anger (1992)
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Lady in the Water (2006)
The Happening (2008)
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After Earth (2013)
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Split (2016)
Glass (2019)
[show]
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Soylent Green – Stanley R. Greenberg (1973)
Sleeper – Woody Allen (1974)
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Serenity – Joss Whedon (2005)
Howl's Moving Castle – Hayao Miyazaki, Cindy Davis Hewitt, and Donald H. Hewitt (2006)
Pan's Labyrinth – Guillermo del Toro (2007)
WALL-E – Andrew Stanton, Jim Reardon, and Pete Docter (2008)
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Inception – Christopher Nolan (2010)
Doctor Who: "The Doctor's Wife" – Richard Clark and Neil Gaiman (2011)
Beasts of the Southern Wild – Benh Zeitlin, Lucy Alibar (2012)
Gravity – Alfonso Cuarón and Jonás Cuarón (2013)
Guardians of the Galaxy – James Gunn and Nicole Perlman (2014)
Mad Max: Fury Road – George Miller, Brendan McCarthy, and Nico Lathouris (2015)
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Don't Breathe (2016)
[show]
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The Sixth Sense (2000)
Pearl Harbor (2001)
Spider-Man (2002)
None (2003)
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The Notebook (2005)
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The Perks of Being a Wallflower (2013)
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If I Stay (2015)
Miracles from Heaven (2016)
Everything, Everything (2017)
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