I have to say that liking a thing has a lot to do with a person's nature, just like the rational Elinor chose the stable and inarticulate Edward, and the emotional Marianne chased the romantic Willoughby. Sometimes I feel that it is not so much to love someone as to be in love with myself that everyone can’t avoid a part of themselves. But Colonel Brandon chose another way. Maybe it can be said that he is in love with a person he wants to be. After all, youth is no longer, and it will also be one of the reasons for the "mid-life crisis".
"Love is not a simple process, and what affects people's hearts is the forbearance and sadness in it. People in love must know that lovers do not say more than what they have in their hearts, that is always there, not The part that is understood makes the possibility of deep and trembling love." Meeting true love has never been a dashing thing. When Elinor left Norland, when he saw Edward again a long time later, when he heard that E and Lucy were engaged, the sadness flashed in his eyes instantly, like a small ripple of sadness swept across the calm lake by a bird. What's more, what she endured was more than that - every quiet night, even when Marianne and W were glued together, why wouldn't her already sensitive heart feel bitter? It's just that she still has the whole family to bear. Although her mother can do things, she is also a vulnerable person after all.
Marianne chose another way, to show everything about herself, whether it's likes or dislikes, with a little girl's willfulness. She believed that young women could understand Brandon's indifference at first, although the Colonel later felt a little bit of a resemblance. This ending is not a tragedy for her, but it can't be said to be a comedy either. When I occasionally recall myself laughing and playing with W, and then looking at the dull Colonel beside me, and my hurt body and mind, can I not detect a shred of happiness from the memories? For her, she could realize that as long as W really loved her at the time, that was enough, and there was still room for her to change her life. It's just that in my opinion, emotional people want to become rational with some epiphany. Whether or not M has this, Austin did not explain.
I don't know if this can be regarded as the ending arranged by Austin for the British-style forbearance; Alain De Bolton also said in "Love Notes": "Rationality is the only principle that lasts." However, although the innate conditions for realizing this are missing, I feel that it is a lucky thing to be able to fall in love as fully as M, after all, this is a symbol of youth; as for the future, I will talk about it later. Elinor wouldn't indulge himself crying when Edward proposed, if he had been rational all along. A dull and tired heart will not perceive love. Whether the character is inclined to rationality or sensibility, the heart will always be fragile and sensitive. I didn't cry until the final wedding screening, and even then there was no certainty what the future would look like, there were too many variables. An unstable person like Ed, a five-year promise that he will gradually forget, even if he can't ask him anything, he will doubt that he can give Elinor the quiet years he expects?
But as long as you can love someone, you will experience the power of his sentence: "My heart only goes...to you." It is gentle but firm. Rational sensibility is sometimes a fact that cannot be decided. I like Ang Lee's movies, the British-style leisure and tranquility, and the scene where sisters lie on the bedside and talk to each other before going to bed at night. The dim light brings natural softness and stability. At this time, they have no secrets. Whether it is revealed in the eyes or whispered softly, it is the most real self. Even if the lover leaves, you still have me, I still have you, this is also a kind of luck.
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