Book Anatomy · Sense and Sensibility
Sense and Sensibility: Setting and world
13 lenses on setting and world for Sense and Sensibility by Jane Austen. Count lenses are exact for our text. AI lenses are our reading and cite only quotes that passed a word for word check.
Jump to: I1 I2 I3 I4 I5 I6 I7 I8 I9 I10 I11 I12 I13
I1. Places named and how often each appears. Count
London is the place named most, 35 times.
| Place | Mentions | Chapters |
|---|---|---|
| London | 35 | 19 |
| Delaford | 30 | 13 |
| Cleveland | 27 | 9 |
| Devonshire | 26 | 12 |
| Allenham | 18 | 10 |
| Barton Park | 12 | 11 |
| Sussex | 9 | 8 |
| Somersetshire | 8 | 5 |
| Barton Cottage | 7 | 6 |
| Kensington Gardens | 2 | 1 |
| Norland Park | 1 | 1 |
| Bond-street | 1 | 1 |
I2. Setting by chapter, as a map. Both
The place named most in each chapter. A rough setting map. (rough estimate from word lists)
| Chapter | Place named most |
|---|---|
| 1 | Norland Park |
| 2 | |
| 3 | |
| 4 | Devonshire |
| 5 | Devonshire |
| 6 | Barton Cottage |
| 7 | Barton Park |
| 8 | |
| 9 | Allenham |
| 10 | |
| 11 | Sussex |
| 12 | Somersetshire |
| 13 | Allenham |
| 14 | Barton Cottage |
Norland Park (chapters 1 to 5), Barton Cottage and Barton Park (6 to 25), London (26 to 41), Cleveland (42 to 45), Barton again (46 to 50). The journey from Sussex to Devon to London and back structures the plot's emotional arc.
Chapters: Ch 1, Ch 6, Ch 26, Ch 42, Ch 46
The family of Dashwood had long been settled in Sussex. Their estate was large, and their residence was at Norland Park (Ch 1, para 1)
A small green court was the whole of its demesne in front; and a neat wicket gate admitted them into it (Ch 6, para 1)
I3. Setting shown in blocks or woven into action? AI
Settings are woven into action. Rooms are described as characters enter and converse in them. The cottage's smallness emerges through Marianne's grief there. Allenham is known through Marianne's visit and Willoughby's words, not prior description.
Chapters: Ch 6, Ch 10, Ch 13, Ch 26
A small green court was the whole of its demesne in front; and a neat wicket gate admitted them into it (Ch 6, para 1)
There is one remarkably pretty sitting room up stairs; of a nice comfortable size for constant use, and with modern furniture it would be delightful. (Ch 13, para 76)
I4. Weather and light used for mood. Both
Weather and light words: 0.47 per 1,000 words.
Weather and light words, chapter by chapter
Rain and threatening weather accompany Marianne's fall and Willoughby's departure. Marianne's fever illness darkens the mood at Cleveland. Fine weather at Barton allows outdoor walks that lead to both romance and recklessness. Weather mirrors emotional states.
Chapters: Ch 9, Ch 15, Ch 42, Ch 43
The whole country about them abounded in beautiful walks. The high downs which invited them from almost every window of the cottage (Ch 9, para 3)
Most grateful did Elinor feel to Lady Middleton for observing, at this moment, “that it rained very hard (Ch 12, para 27)
I5. The social world: class, money, rules. AI
Class and money drive the plot. The entailment strips the Dashwoods of Norland. Marriage is the only path to security for women. Mrs. Ferrars controls Edward through his dependence. Willoughby abandons Marianne for Miss Grey's fifty thousand pounds. Social rank determines access and respect.
Chapters: Ch 1, Ch 2, Ch 3, Ch 22, Ch 30, Ch 33
To take three thousand pounds from the fortune of their dear little boy would be impoverishing him to the most dreadful degree (Ch 2, para 3)
Fifty thousand pounds! and by all accounts, it won’t come before it’s wanted; for they say he is all to pieces. (Ch 30, para 10)
I6. Rules of the world (magic, science) and when each is shown. AI
Not a feature of this book. The novel operates within strict social realism with no magical or scientific rules. All events follow from character, money, and social convention.
I7. Lore: dripped in or dumped? AI
Lore is dripped in naturally. Brandon's past with Eliza Williams emerges through hints, then his full confession. Willoughby's seduction of Eliza is revealed gradually through Brandon's story. The reader learns as Elinor learns.
Chapters: Ch 11, Ch 13, Ch 31, Ch 44
I once knew a lady who in temper and mind greatly resembled your sister, who thought and judged like her, but who from an enforced change (Ch 11, para 17)
He had left the girl whose youth and innocence he had seduced, in a situation of the utmost distress, with no creditable home, no help, no friends, ignorant of his address! (Ch 31, para 30)
I8. Real history used, and how. AI
No real history is used. The novel is set in a timeless Regency world without reference to actual events, wars, or public figures. The focus is entirely on private domestic life and personal morality.
I9. Journeys: distance and time taken. Both
Sussex to Devonshire is a day's journey. London is reached in chapters 26 to 27. Cleveland is near Willoughby's home. The return to Barton takes place off-page. Distances are felt through separation and longing rather than detailed travel.
Chapters: Ch 5, Ch 25, Ch 39, Ch 42, Ch 46
Edward turned hastily towards her, on hearing this, and, in a voice of surprise and concern, which required no explanation to her, repeated, “Devonshire! (Ch 5, para 1)
I am unable to keep my engagement with you. Mrs. Smith has this morning exercised the privilege of riches upon a poor dependent cousin, by sending me on business to London. (Ch 15, para 6)
I10. Objects that matter, where they appear. Both
letter is the object named most.
| Object | Mentions | Chapters |
|---|---|---|
| letter | 76 | 21 |
| cottage | 61 | 28 |
| living | 36 | 15 |
| estate | 19 | 9 |
| horse | 8 | 3 |
| ring | 7 | 4 |
| lock of hair | 4 | 2 |
A lock of hair in a ring reveals Edward's hidden attachment. Willoughby's gift of a horse signals his engagement to Marianne. Lucy's miniature portrait and letter prove her engagement. These tokens carry emotional weight and drive plot revelations.
Chapters: Ch 12, Ch 18, Ch 22
I saw him cut it off. Last night after tea, when you and mama went out of the room, they were whispering and talking together as fast as could be (Ch 12, para 13)
She was sitting by Edward, and in taking his tea from Mrs. Dashwood, his hand passed so directly before her, as to make a ring, with a plait of hair in the centre, very conspicuous on one of his fingers. (Ch 18, para 10)
she could have none of its being Edward’s face. She returned it almost instantly, acknowledging the likeness. (Ch 22, para 35)
I11. Density of period detail. AI
Period detail is moderate. Austen mentions drawing rooms, pianofortes, letters, and social calls but avoids heavy description. Fashion and furnishings appear briefly. The focus is on dialogue and feeling rather than material specificity.
Chapters: Ch 6, Ch 7, Ch 34
The furniture was all sent around by water. It chiefly consisted of household linen, plate, china, and books (Ch 5, para 4)
A small green court was the whole of its demesne in front; and a neat wicket gate admitted them into it (Ch 6, para 1)
I12. Setting as an enemy. AI
Setting is not an enemy. Barton Cottage is small but comfortable. London is crowded but navigable. Cleveland is pleasant. Settings support the plot but do not actively oppose the characters. Social rules, not geography, create obstacles.
I13. Indoors against outdoors. Both
Indoor words outnumber outdoor words 453 to 113. (rough estimate from word lists)
Indoor share %, chapter by chapter
Indoors dominates: drawing rooms, cottages, and houses are where conversations and revelations occur. Outdoors appears in walks and rides that lead to meetings or illness. The cottage interior is Elinor's refuge; outdoor walks expose Marianne to danger.
Chapters: Ch 6, Ch 9, Ch 42, Ch 43
The whole country about them abounded in beautiful walks. The high downs which invited them from almost every window of the cottage (Ch 9, para 3)
a day spent in sitting shivering over the fire with a book in her hand, which she was unable to read (Ch 43, para 1)
Ask Sense and Sensibility a question about its craft (free beta)
Answers cite chapter and paragraph, and every quote is checked against the text. (3 free questions a day).
Weekly email: coming soon
One short email a week on new AI tools for authors. Sign up opens soon.