	The function of the two clauses thus becomes clear -- the latter comments through indirect discourse on the former, creating a feedback loop between the two sisters’ situations. In both situations Elinor’s commentary clearly receives agency, being the subjective and sensible critique of her sister’s sensibility. Despite their personalities being different, however, Austen positions them both clearly within the same grammatical body. Even with the dichotomy of “sense” and “sensibility” being apparent, Austen unites the two sisters through commentary, assuring us of both the relationship between the two literal sisters, and the conflict of their allegorical personalities.

	These concepts of subjective narration and intentional contrast/comparison through indirect discourse permeate the novel as a whole. 
At a purely literal level, Elinor succeeds in her endeavor of love due to her “sense,” therefore validating Elinor’s narrative authority and nearly pedagogical responses as noted prior. 
	However, the direction of Elinor’s internal vs. external dialogue and Austen’s incorporation of the different spaces expands beyond her own body. Although Elinor nearly exclusively holds the metaphorical narrator’s pen, the separation between external and internal become apparent in all characters, and reflect the society contingent on appearance and the reality. Therefore, the entire novel may be considered as a contrast between the true intentions and that of the internal motivation. Willoughby’s true nature, for example, is contingent on the same general idea of private vs. public. Austen, perhaps, through this incorporative narrative technique, wished to create a truly honest, inescapably public character, through this privacy.
The novel as a format, principally, lies on the axis of privacy and publicity. Sense and Sensibility, however, adds complexity to the already private sphere by interjecting first person characteristics to the narrative technique. Expanding beyond just internal thought, Austen builds an entire ecology around the sisters, their surrounding area, and their romantic interests. Beyond just a vectored approach, the dimensional variance present in the novel’s conflicts of action, inaction, and thought generates an interesting new route of interpretation. 
