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Charlotte laughed heartily to think that her husband
could not get rid of her; and exultingly said, she did
not care how cross he was to her, as they must live
together. It was impossible for any one to be more
thoroughly good- natured, or more determined to be
happy than Mrs. Palmer. The studied indifference,
insolence and discontent of her husband gave her no
pain: and when he scolded or abused her, she was
highly diverted. (129)
In this passage we see indifference defined as apathy in general,
and as the absence of sympathetic communication in particular.
Together they characterize the interactions between the
Palmers. Mr. Palmer shows no concern for his wife’s
psychological well-being, in a way similar to his wife’s
demonstrated paucity of interest in understanding the cause of
his sullenness. She treats every breach of courtesy as a source
of amusement: “Mr. Paler is so droll! . . . He is always out of
humour” (129).
Major characters in the novel also understand
indifference as unconcern. Early in
Sense and Sensibility,
Marianne Dashwood invites Edward Ferrars to discuss the
beauty of country scenery. Edward responds by forestalling
any allusion to the picturesque, the popular way of
appreciating natural landscape in Austen’s age: “You must not
inquire too far, Marianne
—
remember I have no knowledge of
the picturesque, . . . I shall call hills steep, which ought to be
bold; surface strange and uncouth, which ought to be irregular
and rugged” (Austen, 2006: 112). Edward’s refusal to recycle
the fashionable jargons of the picturesque and his professed
lack of interest in this aesthetic fashion are summarized by
Elinor Dashwood as indifference: “he affects greater
indifference . . . in viewing [the beauties of nature] than he
possesses” (112). Later in the novel, Mrs. Jennings offers to
take the Dashwood sisters to London. Firmly believing that
such a journey will bring Willoughby to her again, Marianne is
