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Pastiche of Jane Austens Novels
The Use of Pastiche in Jane Austens Novels
Jane Austen is regarded as one of the best English novelists of all time. In fact, some critics have compared her to Shakespeare, and her six novels have inspired and formed the basis of various contemporary works of art. For instance, some authors use quotations from her novels, while others incorporate characters that are similar to hers. In fact, such prominent authors as Ian McEwan have used entire passages from Austens novels in their works.
In the preface of his novel Atonement, McEwan uses a passage from Austens Northanger Abbey: Dear Miss Morland, consider the dreadful nature of the suspicions you have entertained (McEwan, 2003, p.1). This quotation sets the tone for McEwans novel, making it a pastiche of Austens work. According to Gerard Genettes theory of transtextuality, the pastiche between McEwans novel and Northanger Abbey can be defined in terms of paratextuality (Genette, 1997, p. 83).
However, Austen herself also uses the work of other writers before her to develop the plots and characters in her novels. For instance, Widmark (2011, p. 3) argues that Austens Northanger Abbey is a parody of the prototypical Gothic novel. Consequently, one can argue that some of Austens works are themselves pastiches of earlier publications by other authors.
Pastiche in Jane Austens Northanger Abbey
Jane Austens Northanger Abbey appears to be a pastiche of Gothic novels. The novel was written at a time when English society was interested in Gothic themes (Widmark, 2011, p. 3). Though the novel was not published until 1818, Gothic novels were still popular at the time. According to Widmark (2011, p. 6), Northanger Abbey seems to reflect a lot of hypotextuality when compared to Gothic novels. It parodies and satirizes some of the most popular Gothic novels of the time.
In particular, Austens Northanger Abbey appears to be a pastiche of The Mysteries of Udolpho (Widmark, 2011, p. 3). Authored by Ann Radcliffe, the novel The Mysteries of Udolpho is a Gothic romance that was popular at the time when Jane Austen was writing Northanger Abbey. According to Butler (2006, p. 80), the similarities between the two novels are made evident given that in Northanger Abbey, Catherine, the main character, is used to develop plots and themes that reflect those in The Mysteries of Udolpho. For instance, when she visits Northanger Abbey, Catherine takes the reader into the setting and plot of a Radcliffean novel of terror, mystery, and self-induced illusion (Butler, 2006, p. 80).
Throughout her novel, Austen describes how Catherine reads various Gothic novels and internalizes the characters from them. For instance, she imagines herself to be a Gothic heroine, similar to the main characters in the novels she has read. Austen further shows how Catherine aspires to become a Gothic heroine. However, Austen parodies these very Gothic heroines by contrasting them with Catherine. Indeed, the stark contrast is made evident when Austen writes: No one who had ever seen Catherine Morland in her infancy, would have supposed her born a heroine (Austen, 2000, p. 13). The reason is that according to the narrator of Northanger Abbey, Catherines life, including her character and family, could not support a heroine.
According to Jurtikova (2006, p. 15), Northanger Abbey is significantly different from the other works written by Jane Austen. One of the major differences between Northanger Abbey and other Austen works is that the novel seems to borrow a lot from other works. The explicit derivation may be attributed to the fact that the book was one of Austens first novels, so she was not yet a very accomplished writer. It could be argued that she was still learning, developing her literary taste, and experimenting with different writing styles. In addition, the parodying of Gothic fiction, especially of popular novels such as The Mysteries of Udolpho, can be seen as an attempt by Austen to latch onto the fame and recognition of other known writers.
Metatextuality and hypertextuality are evident in Northanger Abbey given the fact that Austen makes direct reference to several Gothic novels and authors. For instance, when Catherine arrives at Northanger Abbey, she keeps herself busy by reading novels. One of the novels she is described reading is, of course, The Mysteries of Udolpho (Austen, 2000, p. 27). Catherines friend, Isabella, also notes her interest in this genre of novels and recommends others to her. Austen tells the reader that Isabella offers Catherine seven Gothic novels: Castle of Wolfenbach, Clermont, Mysterious Warnings, Midnight Bell, Necromancer of the Black Forest, Horrid Mysteries, and Orphan of the Rhine (Austen, 2000, p. 27).
The direct reference and mention of these titles makes it apparent that Northanger Abbey is a pastiche. At the time, critics thought that the titles mentioned by Austen were just a figment of her imagination. However, later in the early 1900s, historical research revealed that these novels did in fact exist.
Another instance of reference to Gothic writers and novels is seen in the conversation between Catherine and James Morland. James is seen telling Catherine: Novels are all so full of nonsense and stuff; there has not been a tolerably decent one come out since Tom Jones, except the Monk (Austen, 2000, p. 36). Catherine responds by saying: I think you must like Udolpho , to which James responds, No, if I read any, it shall be Mrs. Radcliffs (Austen, 2000, p. 36).
Even though James Morland appears to be clueless about novels compared to Catherine, the literary heroine, it is not lost to the reader that Austen makes direct reference to other writers and their works throughout this novel. The question of whether her intention was to promote her novel or just to entertain her readers remains a bone of contention among literary critics. However, what is clearly evident, and what critics agree on, is that the mention of other writers and their works qualifies Northanger Abbey as a pastiche.
Beyond the references to contemporary Gothic titles, the theme of Gothic romance is also evident in Northanger Abbey. The intertextuality to this end is made apparent considering that, for instance, Gothic romance and Northanger Abbey treat marriage between the main characters as the major goalnot only of the lives of these individuals but also of the novels plot (Widmark, 2011, p. 4). For instance, over the course of the novel, Austen shows how Catherine falls in love with James Morland. At the end of the novel, her name changes to Catherine Morland, an indication of the fact that she has married the man.
Another link between Northanger Abbey and Gothic adventure is seen when Catherine leaves Bath for Northanger Abbey. For instance, she seems to be convinced that her Gothic adventure is beginning, something that she greatly looks forward to. She talks excitedly with Henry about the abbey, believing that it is just like what one reads about [in the Gothic novels] (Austen, 2000, p. 138). In other words, Catherine is making allusions to the Gothic novels she has interacted with in the past.
Pastiche in Jane Austens Mansfield Park: Cinderella themes and fairy tales
Another instance of pastiche is evident in Jane Austens portrayal of themes common to Cinderella stories. It is clear that many artists write about the society within which they are living and that their works mirror the realities of that society; the case is no different in Jane Austens novels. Considering that she was writing in a society in which Cinderella stories held sway, it is only obvious that her plots and themes would be informed by these popular narratives. Moreover, Austen was a lover of theatre (Juarez, 2014, p. 4). During her time, Cinderella plays were common features in theatres.
Although fairy tale themes are evident in most of Austens works, Mansfield Park appears to be the most obvious version of this novelists Cinderella. The novel creates intertextuality between Austens works and previous Cinderella stories (Juarez, 2014, p. 4). The story is largely influenced by Charles Perraults Cinderella: The Glass Slipper (Juarez, 2014, p. 3). Perraults main character is a poor girl who is neglected by her own family and hopes that she will someday be accepted back into the fold by her family members.
The fairy tale element in Perraults story is made evident by the fact that the girl manages to overcome the various challenges in her life to find true happiness. Indeed, she overcomes her lifes obstacles to become a real heroine. The main character in Mansfield Park, Fanny Price, appears to be an exact mirror image of Perraults Cinderella. Like Cinderella, she is from a poor background. Again, like Perraults Cinderella, Fanny Price is neglected by her family and viewed as a kind of unnecessary baggage by various family members. The family members, and indeed other members of society, appear to only tolerate her presence in Mansfield Park out of pity.
However, it is important to note that Jane Austen parodies the fairy tale elements of the Cinderella story by making various subtle yet significant changes to her Mansfield Park. For example, she does not begin the story with the fairy tale opening line of once upon a time&. . Furthermore, the prince who meets the poor girl and marries her, leading to her happily ever after , is missing in Austens Mansfield Park (Juarez, 2014, p. 5).
Another difference between Mansfield Park and Cinderella fairy tales is the fact that there is no fairy godmother in Austens work. In fairy tales, Cinderella is transformed from rags to riches through magic. However, the change of fortunes in Fannys case is anything but magical (Juarez, 2014, p. 6). On the contrary, exercise and a favourable environment seem to be the major reasons behind Fannys change of fortune. For instance, Edmund lends her one of his horses to help in her outdoor exercises. In addition, the departure of Maria and Julia from Mansfield Park weakens the forces opposed to Fannys happiness, with only Mrs. Norris, her aunt, left behind. Her hatred of Fanny is countered by the love shown by other people in the park.
Nonetheless, Cinderella elements are still evident in Austens Mansfield Park. For instance, Sir Thomas purchases a gown for Fanny, which she wears to Marias wedding. She is also given a carriage to attend her dinner at Mr. and Mrs. Grants residence (Juarez, 2014, p. 7). In this way, Edmund and Sir Thomas appear to play the role of the fairy godmother in Fannys life.
Unlike a literal fairy godmother, the villain in Cinderellas tale is present in Fannys life. The villain in this case is Mrs. Norris, while Fannys two cousins play a supporting role in the villains schemes. The three gang up against Fanny. Like the evil stepmother in Cinderellas story, Mrs. Norris works overtime to ensure that Fanny feels worthless, especially in the presence of her cousins. For instance, she is heard saying: I am quite ashamed of you, Fanny, to make such a difficulty of obliging your cousins in a trifle of this sort (Austen, 1998, p. 123). What she is trying to imply here is that Fanny should never refuse to do what is requested by her cousins.
Contemporary Pastiches of Pride and Prejudice
The novel Pride and Prejudice is perhaps one of Jane Austens brightest writings. Like most of her other books, the novel ends with the marriage of the heroine, creating a Cinderella-like happily ever after effect. The novel has had significant influence on contemporary writers. Consequently, various pastiches have been spun around the original story: Shannon Winslows The Darcys of Pemberley, Emma Tennants Pemberley, and Pamela Aidans An Assembly Such As This. However, P. D. James Death Comes to Pemberley remains the most vivid and obvious pastiche of Jane Austens Pride and Prejudice (Suarez, 2014, par. 5).
In fact, James acknowledges in the Authors Note section of the novel that her book is based on Austens Pride and Prejudice (James, 2013, p. ix). Critics have argued that Death Comes to Pemberley is a sequel of Pride and Prejudice, as James starts her story where Austen ends hers. However, in Death Comes to Pemberley, James takes precautions to ensure that her continuation of Austens story is not confused with a completion.
Hypotextuality and hypertextuality between P. D. James Death Comes to Pemberley and Jane Austens Pride and Prejudice
An overview
According to Genette (1997, p. 83), hypotextuality and hypertextuality are some of the characteristics that define pastiches in relation to their original texts. In this case, the newer text transforms, modifies, or extends the preceding text on which it is based. In effect, a pastiche author links his or her audience to the other text on which their book is based. To this end, P. D. James takes her readers into the world of Jane Austens characters, a feat she achieves by turning her book into a sequel of Austens Pride and Prejudice.
P. D. James Death Comes to Pemberley as a sequel of Jane Austens Pride and Prejudice
According to Genette (1997, p. 34), a sequel is used to continue the story of an earlier text. It can also be used to develop the themes found in an earlier text. When viewed from this perspective, it is clear that P. D. James Death Comes to Pemberley is indeed a sequel to Pride and Prejudice. Indeed, throughout her novel, James appears to recreate the world of the Pemberley residents from Austens original novel. The author then further develops the original story by introducing suspense and excitement with the help of a murder mystery (Suarez, 2014, par. 5). In effect, P. D. James adds the interest of a crime scene and a touch of mystery to Austens classic novel.
The plot in the novel Death Comes to Pemberley starts six years after the end of Pride and Prejudice, in October of 1803. At this time, Fitzwilliam Darcy and Elizabeth Bennet of Pride and Prejudice have been married. The continuation of the plot is evident given the fact that the setting of the two novels is exactly the same. In Pride and Prejudice, Darcy and Bennet get married and start living in the Pemberley estate (Austen, 2014a, p. 200). In Death Comes to Pemberley, the family is still living in the expansive estate. The changes that have taken place in their lives during the six years between the settings of the two novels are made evident by the fact that Elizabeth already has a young son at the beginning of James story (James, 2013, p. 4).
In Death Comes to Pemberley, Elizabeth and her husband are making preparations for the annual autumn ball when the story begins; the party will take place the next evening at Pemberley. The guests in the house include Bingley and his wife, Jane. The revellers are just about to retire for the night when Lydia Wickham, Darcys sister-in-law, barges in with disturbing news (Suarez, 2014, par. 7). Hysterically, she informs the revellers that her husband, Wickham, has been murdered. In effect, Death comes into Pemberley through the murder of her husband. The peace and happiness that have been enjoyed by Darcy and Elizabeth since they got married in Pride and Prejudice is effectively shattered at the start of Death Comes to Pemberley. The family, and plot, is then drawn into the murder investigation that follows.
One of the major themes in Pride and Prejudice is family and marriage. In the sequel Death Comes to Pemberley, this theme is continued and further developed. The plot in the sequel revolves around the family and its involvement in the investigations of the murder of Wickham. In Pride and Prejudice, Elizabeth ends up getting married to Mr. Darcy, her nephew (James, 2013, p. 54). It is this marriage that enters into the world of P. D. James Death Comes to Pemberley.
As a sequel, Death Comes to Pemberley maintains and develops the characters and plot lines of Pride and Prejudice. For instance, the reader comes into contact with most of the characters around which Pride and Prejudice revolves. They include, of course, Darcy and Elizabeth, as well as Lydia, the younger sister of Elizabeth. However, James brings death and agony to some of the characters in Austens novel. For instance, Wickham continues to be a character in Death Comes to Pemberley.
However, unlike most of the other characters who are developed forwards into the living world, James introduces Captain Denny and develops him backwards into the world of the dead; indeed, the character enters the scene as a bloodied corpse in the woods. In spite of their unceremonious entry into P. D. James Death Comes to Pemberley, Wickham and Denny still occupy centre stage, albeit posthumously for one of them, considering that the rest of the story revolves around the unravelling investigations into his murder (Suarez, 2014, par. 3).
Another consistency between Pride and Prejudice and its pastiche, Death Comes to Pemberley, is the setting around which the story is told. In Jane Austens novel, the hero and heroine, Darcy and Elizabeth, exit the scene at their residence in the Pemberley estate (Austen, 2014a, p. 201). In Death Comes to Pemberley, they enter the scene within the same estate. Darcy is with other guests in the house at Pemberley when he sees Lydias coach speeding from the woods into the estate (James, 2013, p. 5). The body of Captain Denny is found in the woods within the estate. In fact, most of the murder investigations that take place throughout the rest of the novel revolve around the Pemberley estate. The retention of the estate setting is a clear indication of the fact that Death Comes to Pemberley is a sequel to Pride and Prejudice.
However, the reader comes across new characters in the sequel to Pride and Prejudice, characters who were not present in the original novel. For instance, Elizabeth and Darcy have a young son in Death Comes to Pemberley, while they were just married and thus without child at the close of Pride and Prejudice. Another new addition is the murder detective, Adam Dalgliesh (Suarez, 2014, par. 9). With the addition of these and other new characters, P. D. James appears to be making an effort to give the story her own personal touch. For instance, Adam Dalgliesh is a common character who is present in eight of her novels; the personality and mien of this character is the sole creation of James.
P. D. James further turns the plot of Pride and Prejudice personal by introducing the new theme of death, a theme that is not central, and in fact may be totally missing, from the original Pride and Prejudice (Suarez, 2014, par. 5).
James has a penchant for detective themes, and the best way she could introduce this theme into her sequel to Jane Austens Pride and Prejudice is by bringing Death to Pemberley. With the murder plot firmly in place, P. D. James can now bring her most beloved detective into the scene. Her twist of the original plot may be seen as her intention from the beginning of the novel. In fact, one may argue that she merely uses Austens Pride and Prejudice to give her otherwise drab story lustre and edge.
In fact, there is neither reference to pride nor prejudice as plots or themes in the sequel. However, this fact does not make Death Comes to Pemberley less of a pastiche of Pride and Prejudice. In fact, considering that P. D. James wrote the novel in her early 80s, at the twilight of her literary career, one may be forgiven to assume that the pastiche was out of her admiration for Jane Austen.
Paratextuality between P. D. James Death Comes to Pemberley and Jane Austens Pride and Prejudice
According to Genette (1997, p. 84), paratextuality comes into play when a pastiche reflects the main body of the text around which it is fashioned. Paratextuality is evident in similarities between titles, headings, and prefaces. Paratextuality is made clear between Pride and Prejudice and its pastiche, Death Comes to Pemberley, when one takes a look at the Authors Note of the latter.
In the Authors Note, P. D. James makes direct reference to Jane Austen and several of her works. The fact that the reference appears in the Authors Note section makes it a paratext; however, the fact that P. D. James makes explicit reference to Jane Austens works brings about metatextuality between the two novels as well (Genette, 1997, p. 84). For example, James writes: I owe an apology to the shade of Jane Austen for involving her beloved Elizabeth in the trauma of a murder investigation (James, 2013, p. ix). Here, reference is made to Jane Austen and one of her main characters, Elizabeth Darcy. The reference creates an explicit connection between Pride and Prejudice and Death Comes to Pemberley.
Still in the Authors Note section, P. D. James goes on to say: Especially as in the final chapter of Mansfield Park, Miss Austen made her views plain (James, 2013, p. ix). Again, here the reader sees direct reference to Jane Austen and, this time, to the title of another one of her works. The author continues to quote directly from Mansfield Park: Let other pens dwell on guilt and misery. I quit such odious subjects as soon as I can (James, 2013, p. ix). By selecting this quote, P. D. James appears to be telling Jane Austen that she is taking her suggestion and will be embarking on a tale of guilt and misery. And true enough, she tells the story of guilt and misery with the help of Jane Austens characters.
In the same section, P. D. James says: No doubt she [Jane Austen] would have replied to my apology by saying that, had she wished to dwell on such odious subjects, she would have written this story [Death Comes to Pemberley] herself, and done it better (James, 2013, p. ix). Here, James appears to be aware of her place as an author who can only play second fiddle to Jane Austen. In addition, she seems to be admitting that Death Comes to Pemberley is a sequel to Pride and Prejudice. Austen could have written or continued to tell the story, and even done it much better. However, since she did not continue to tell it, James has taken it upon herself to complete the task started by Austen.
Contemporary Pastiches of Sense and Sensibility
Pastiches of Sense and Sensibility
As discussed previously, a number of books has been authored to continue the stories told by Jane Austen in her classic novels. Some of these books develop the stories and characters created by Austen, while others are just recreations and interpretations of her stories (Patchell, 2013, par. 1). For instance, Joan Aikens Elizas Daughter develops one of the minor characters in Sense and Sensibility. The story of Elizas Daughter is told from the perspective of a character who grows up in the last pages of Sense and Sensibility and reaches her teen years in the first pages of Joan Aikens story. In effect, Elizas Daughter becomes a sequel of Sense and Sensibility in its own right. Many other authors have also written prequels, continuations, and diaries of Sense and Sensibility.
Perhaps one of the most famous pastiches of Sense and Sensibility is Joanna Trollopes 2014 novel by the same title. Trollopes Sense & Sensibility is a re-imagination of Austens Sense and Sensibility (Patchell, 2013, par. 1). Trollope takes the characters from Austens book and locates them in the 21st century. In her novel, she tries to imagine how Austen would have written the story and what the characters would have experienced 200 years later.
Joanna Trollopes Sense & Sensibility as a pastiche of Jane Austens Sense and Sensibility
In Sense & Sensibility, Joanna Trollope writes a sequel to Jane Austens Sense and Sensibility. Indeed, in Trollopes novel, the reader sees not just a continuation but a recreation and a retelling of the story of Sense and Sensibility. If Genette were to analyse Sense & Sensibility as a pastiche of Sense and Sensibility, several relationships would appear between the two texts: intertextuality, paratextuality, architextuality, metatextuality, hypotextuality, and hypertextuality (Genette, 1997, p. 54).
Intertextuality between Joanna Trollopes Sense & Sensibility and Austens Sense and Sensibility
With regards to intertextuality, Joanna Trollope essentially plagiarizes Austens characters and plots. At the same time, the author alludes to the story told in Sense and Sensibility. The plagiarism in this case, however, is not in the exact meaning of this word; Joanna Trollope was one of the prominent contemporary authors commissioned by Harper Paperbacks to rewrite the six novels written by Jane Austen (Patchell, 2013, par. 5). As such, she does acknowledge that her novel is a recreation of Austens work.
Nonetheless, plagiarism and allusion are evident right from the title of the book. While Jane Austens book is titled Sense and Sensibility, Joanna Trollopes novel is Sense & Sensibility. The only difference between the two titles is, of course, the use of an ampersand in Joanna Trollopes book (Patchell, 2013, par. 8). The ampersand may have been cleverly used to intentionally avoid tripping plagiarism detection software, but the sound of the title remains the same and does little to confuse ardent fans of Jane Austen as to the original work on which Trollopes novel is based.
Fans of Joanna Trollope, who are basically remnants if not spin-offs of Jane Austens fans, may argue that Trollope does not plagiarize Sense and Sensibility word for word. And, to give credit to people who subscribe to this school of thought, their argument is right to some extent. For example, a comparison between the opening lines of Sense and Sensibility and Sense & Sensibility shows that Joanna Trollope has not plagiarized Jane Austens text word for word.
Chapter 1 of Jane Austens Sense and Sensibility opens thus: The family of Dashwood had been long settled in Sussex. Their estate was large, and their residence at Norland Park, in the centre of their property, where for many generations had lived in so respectable a manner&. (Austen, 2014b, p. 1). In contrast, Volume 1.1 of Joanna Trollopes Sense & Sensibility opens as follows: From their windowstheir high, generous Georgian windowsthe view was, they all agreed, spectacular (Trollope, 2014, p. 3). The differences between the two opening lines are clearly discernible. In fact, if one were to compare the two lines in isolation from the rest of their supporting contexts, one may conclude that these are completely different stories.
However, the differences are just one line deep. When one reads the second line of Trollopes Volume 1.1, the influence of Jane Austen is overwhelming; this line reads: It was a remarkable view of Sussex parkland, designed and largely planted two hundred years before to give the fortunate occupants of Norland Park the very best of what nature could offer&. (Trollope, 2014, p. 3). The reader cannot fail to notice Trollopes reference to Sussex and Norland Park. In other words, the two stories begin with different words, and perhaps with different characters, but the setting is the same. In effect, Trollope has plagiarized the setting of Jane Austens story. Using the words Volume 1 instead of Chapter 1 , which is the case in Jane Austens novel, does not make the rendition any more original. Consequently, Joanna Trollopes book is clearly a pastiche of Jane Austens novel.
Paratextuality between Joanna Trollopes Sense & Sensibility and Jane Austens Sense and Sensibility
According to Genette (1997, p. 84), paratextuality is made evident when one text uses titles, headings, or prefaces that are similar to those in another text. The paratextual relationship between Jane Austens Sense and Sensibility and its pastiche, Joanna Trollopes Sense & Sensibility, is clear. Trollope uses the same title as Austens book, albeit with the inclusion of an ampersand instead of the word and .
However, the designs of the covers of the two books are quite different, the similarities between the two titles notwithstanding. Joanna Trollopes rendition of Sense and Sensibility is bound in a colourful cover with impressions of two girls or women wearing headphones. The two women are set within two separate circles. If the circles are taken to represent spatial existence of the two persons on the cover, then one can argue that they are living in two different worlds. In spite of the differences in the worlds inhabited by the two, they are sharing one set of headphones. The cable tethering them may be taken as an indication of the fact that the worlds of the two characters are connected through technology.
On the other hand, the cover design of Jane Austens Sense and Sensibility is significantly different from that of Joanna Trollopes rendition. The colours in the 2014 edition are muted, and a wooden park bench appears to take centre stage. A flurry of falling flower petals, pale red in colour, injects the design with a dash of vibrancy. The impression created here is that the bench is in a park. Consequently, whereas Trollopes design appears to create a link between the novel and technology, Austens cover links the book to nature.
Architextuality in Jane Austens Sense and Sensibility and Joanna Trollopes Sense & Sensibility
One of the major characteristics of architextuality as far as pastiches are concerned is the identification of a given text with a genre or subgenre (Genette, 1997, p. 80). To this end, a relationship can be established between Joanna Trollopes Sense & Sensibility and Jane Austens Sense and Sensibility. Jane Austens work subscribes to the genres of satirical and romance novels. Satire is evident in the dry and comical portrayal of the characters. For instance, John and Fanny are portrayed as snobs, while Lucy is represented as a materialistic woman. The same portrayal of characters is retained by Joanna Trollope; the only difference between the two texts is that Trollope retells Austens satire in the context of the 21st century.
A case in this modernized satire is made evident in the conversation between Willoughby and Elinor. The exchange takes place within the context of Mariannes illness. Trollope writes: Do- do you still think Im a shit? Elinor sighed. I think youre a car crash. A destructive car crash. Ill take that as one degree more approving than a complete shit (Trollope, 2014, p. 316). Such figurative language is missing from the society in which Jane Austens characters were living, which shows that Trollope has transformed the satire of these characters from the 17th to the 21st century through the use of choice words.
Joanna Trollopes novel is still a romanticized representation of the characters and story told by Jane Austen. For instance, marriage is still an evident theme in Sense & Sensibility. Robert Ferrars gets married to Lucy (Patchell, 2013, par. 5). Sex is also discussed in the novel, a
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