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Passion, spontaneity in behavior, and performance dominate over rich and developed inner life of Charlotte and become the source for comprehension of sense and value. The typical characters speak no fine words, they are not able for sentimental emotional experience. Their self-dignity and feeling of self-importance go back on passion. Their true values are not hidden like the author does during express of sentimental. On contrary, passionate tones seem to be advisedly put for show. Concentration on expose of sentimental and passion on its active level provides the reader with new possibilities for self-affirmation in his imagination.
These emotional experiences receive support also at the plotting level: the main character constantly reveals self-expression and demonstration of self-value. In result of these compound narrative techniques, the novel reminds us a vicious: the characters of the main heroes do not have psychological deepness, however, the novel is mainly supposed to serve the tastes of shallow-minded readers who articulate the imaginary abruptly, without any psychological and moral mediation. The psychologism in describing sentimental bring into action compound processes of understanding, while describing passion the authors demonstration of emotional tones convinces by its own accord. The displacement from sentimental to passion is very interesting. At the same time, constant contraposition of the two nuances rather counts on performance than suppose any distract vital goals. The author promises a kind of emotional show and finds the only excuse in keeping the promise.
This standing rule of sentimental v. passion is a mere ritual. It doesnt appeal to any cause-and-effect relations and final aims. It is rather the process of seduce, the transition from nave sentimental to dramatic passion by the path of seduce: Of all the pleasures of which the human mind is sensible, there is none equal to that which warms and expands the bosom, when listening to commendations bestowed on us by a beloved object, and are conscious of having deserved them (Rowson n. p. ). The question concerning supreme values is lost in waves of emotions.
Hope for happiness remains the main idea deriving from sentimental reflections. On contrary, for passion it is more than enough to demonstrate unusual emotions and surprising behavioral nuances. Both sentimental and passion (although to a variable degree) focus attention on performance as the source of vitality. Both of them effectively reveal the hidden feelings of the main character. Unobtrusive contraposition of sentimental and passion is the most important cultural form from the point of expression.
On the face of it, as compared with sentimental, passion leads to narrowing intellectual activity and esthetic compassion. In actuality, the matter is not as simple. Perhaps not misunderstanding, but something very much like it... No doubts, the novel awakens our imagination; it prompts our imagination to work. Yet, the novel also deceives it. As a rule, the images that the reader draws in his imagination while reading the novel are never concrete and precisely shaped.
These images remain indefinite and uncertain. When we read sentimental passages, gradually we create the image of the main character Charlotte Temple. However, this image can boast with no stability. It is hypothetical as we reshape it during the course of the novel. Besides, the character also changes as she becomes more adult as a personality. The gap between word representation and mental picture stimulates intellectual activity of the reader, evolving the bright picture of seduce and tears, the picture of sentimental, love and passion.
Bibliography: Rowson, S. (March 12, 2006 [EBook # 171 ]). Charlotte Temple. Retrieved October 12, 2006. web
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