The Crisis of Mansfield Park

Total Page:16

File Type:pdf, Size:1020Kb

The Crisis of Mansfield Park SUMMARY ― 29 ― The Crisis of Mansfi eld Park KITAWAKI Tokuko Mansfi eld Park is the most serious and challenging of Jane Austen’s novels, though it may not be the greatest. It is the name of the stately country house owned by Sir Thomas Bertram in the county of Northampton. Sir Thomas gets most of his fi nancial profi ts from the West Indies sugar trade based on slavery, which“indicates a dangerous split in his loyalties.” (Tanner149) Moreover, he is personally and economically at risk as a result of Napoleonic Wars, during the visit to Antigua of the West Indies. Mansfi eld Park, which is ruled by the tradition of Paternal Authority, is at risk during his absence. The attractive Crawfords with London ethics threaten“everything Mansfield Park represents.” (Monagham94) The Bertram children yield themselves up to the Crawfords, who are living in the world of liberty, amusement and fashion and have no virtues. Maria Bertram, who has married Mr Rushworth only for money, runs away with Henry Crawford, and Julia elopes with Mr Yates. Mansfi eld Park is in crisis as a result of Maria’s guilt, Julia’s folly and Tom’s serious illness. Sir Thomas himself brings about the ruin of Mansfi eld. Though he is a truly anxious father, he fails in the education of his eldest son and two daughters. Sir Thomas cares about their elegance and accomplishments and neglects their defi ciency of“self-knowledge, generosity, and humility.”(MP55) He allows Maria to marry the foolish Mr Rushworth, because he is rich. Lady Bertram is entirely incapable of independent judgement. Therefore, Sir Thomas admits Mrs Norris, who is mean, stingy and selfi sh, to interfere in the education of Maria and Julia. This is a major failure of judgement of Sir Thomas. Fanny Price is a heroine of this novel. She has been brought up in Mansfi eld since she was ten. Fanny and the Bertram sisters cannot be equals. She is treated just like a servant by the Bertrams and Mrs Norris. Fanny is timid, weak, silent and vulnerable, but she“always thinks, feels, speaks and behaves exactly as she ought.”(Tanner143) She is properly educated and the best informed person. After Maria’s marriage, she gradually progresses to the center of Mansfi eld society, admitted by Sir Thomas and Henry Crawford. However, her rejection of Henry’s proposal causes the anger of Sir Thomas. During her stay in Portsmouth, Fanny is very anxious to be useful for everyone in Mansfi eld Park. Sir Thomas acknowledges Fanny to be right after Maria’s elopement with Henry.“Fanny was ― 30 ― SUMMARY indeed the daughter that he wanted.”(MP456) Fanny is aware of Mansfi eld ideals, the moral virtues and is not infl uenced by the Crawfords. Fanny is fi nally recognized as a good partner by Edmund, who gives up Mary Crawford because of her amoral words. Fanny’s suffering from her moral achievement deserves the heroine of this serious novel. .
Recommended publications
  • An Aristotelian Approach to Jane Austen's Mansfield Park Katherine A
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2015 An Aristotelian Approach to Jane Austen's Mansfield Park Katherine A. (Katherine Amanda) Guin Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES AN ARISTOTELIAN APPROACH TO JANE AUSTEN’S MANSFIELD PARK By KATHERINE A. GUIN A Dissertation submitted to the Department of Philosophy in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2015 Katherine A. Guin defended this dissertation on March 30, 2015. The members of the supervisory committee were: David McNaughton Professor Directing Dissertation Eric Walker University Representative John Roberts Committee Member J. Piers Rawling Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii To my father and mother, And To my husband iii ACKNOWLEDGMENTS This project began almost twenty years ago when I read Mansfield Park and the Nicomachean Ethics both for the first time and in quick succession. My father, Greg Guin, had pushed me to read both and I waited far too long to take his excellent advice. I am very grateful not only to my father but his friend, Bill Henry, for inspiring my interest in great literature. As an undergraduate at Millikin University, I had the privilege of being taught by several gifted teachers in the Philosophy, English, and History departments. I thank my English Professor, Bonnie Gunzenhauser, for encouraging me in my first attempt at exploring the connection between Austen and Aristotle.
    [Show full text]
  • Commissioned Orchestral Version of Jonathan Dove’S Mansfield Park, Commemorating the 200Th Anniversary of the Death of Jane Austen
    The Grange Festival announces the world premiere of a specially- commissioned orchestral version of Jonathan Dove’s Mansfield Park, commemorating the 200th anniversary of the death of Jane Austen Saturday 16 and Sunday 17 September 2017 The Grange Festival’s Artistic Director Michael Chance is delighted to announce the world premiere staging of a new orchestral version of Mansfield Park, the critically-acclaimed chamber opera by composer Jonathan Dove and librettist Alasdair Middleton, in September 2017. This production of Mansfield Park puts down a firm marker for The Grange Festival’s desire to extend its work outside the festival season. The Grange Festival’s inaugural summer season, 7 June-9 July 2017, includes brand new productions of Monteverdi’s Il ritorno d'Ulisse in patria, Bizet’s Carmen, Britten’s Albert Herring, as well as a performance of Verdi’s Requiem and an evening devoted to the music of Rodgers & Hammerstein and Rodgers & Hart with the John Wilson Orchestra. Mansfield Park, in September, is a welcome addition to the year, and the first world premiere of specially-commissioned work to take place at The Grange. This newly-orchestrated version of Mansfield Park was commissioned from Jonathan Dove by The Grange Festival to celebrate the serendipity of two significant milestones for Hampshire occurring in 2017: the 200th anniversary of the death of Austen, and the inaugural season of The Grange Festival in the heart of the county with what promises to be a highly entertaining musical staging of one of her best-loved novels. Mansfield Park was originally written by Jonathan Dove to a libretto by Alasdair Middleton based on the novel by Jane Austen for a cast of ten singers with four hands at a single piano.
    [Show full text]
  • Mansfield Park
    Mansfield Park D. D. DEVLIN 'At the still point of the turning world.' T. S. Eliot, Burnt Norton ANSFIELD PARK tells the story of Fanny Price's rise from insignificance to importance. When we first meet M her — timid, in tears and physically weak — she is the poor relation, the adopted child in the great strange house. By the end of the novel she has moved from the fringe to the centre and is needed by everyone. The book shows us a complete reversal of position; and the dramatic irony and distinctive shape of the narrative lie in this reversal. The first chapter makes plain to us the special interests, the 'areas of experience' that Jane Austen will deal with, and the chapter begins with a reminder of the importance of money: About thirty years ago, Miss Maria Ward, of Huntingdon, with only seven thousand pounds, had the good luck to captivate Sir Thomas Bertram, of Mansfield Park, in the county of Northampton, and to be thereby raised to the rank of a baronet's lady, with all the comforts and consequences of an handsome house and large income. All Huntingdon exclaimed on the greatness of the match, and her uncle, the lawyer, himself, allowed her to be at least three thousand pounds short of any equitable claim to it. Her sister, Mrs Norris, was less lucky: 'Miss Ward, at the end of half a dozen years, found herself obliged to be attached to the Rev. Mr Norris, a friend of her brother-in-law, with scarcely any private fortune...' 'Felt herself obliged to be attached': the words sum up the attitude of Charlotte Lucas towards Mr Collins in Pride and Prejudice.
    [Show full text]
  • Life of Jane Austen
    ^c A jO>' ^i:?]JJNYSUl-- /v Ya- ] t » aii lit trr%n EDITED BY PROFESSOR ERIC S. ROBERTSON, M.A. LIFE OF JANE AUSTEN. LIFE OF JANE AUSTEN. BY A-^ — ^ GOLDWIN SMITH. \ , D LONDON WALTER SCOTT, 24, WARWICK LANE 1890 (AH rights reserved.) ^2-g O TfL 6^/ . X^ CONTENTS. -- CHAPTER I. in December Jnne Austen's position literary history ; born, i6, the Austen 1775, at the Parsonage, Steventon ; family ; Steventon and its society the basis of Jane Austen's and tastes childish works ; her early days literary ; pro- ductions; a precocious genius; "Pride and Prejudice" " " and " (1796), Sense and Sensibility (1797), Northanger Abbey" (1798), written at Steventon; rejected by the in her work and in her home life publishers ; delight pre- she moves with her father to vents discouragement ; P)ath, father removal to iSoi ; her dies, 1805 ; consequent considers herself an old maid views Southampton ; ; near thereon and on dress ; removal to Chawton, Win- " " chester, 1809; "Emma," Mansfield Park," and Per- " at of suasion written Chawton ; anonymous publication the novels, 1811-18; Jane Austen and Madame de the novels Sir Walter Stael ; appreciated by Scott, also the Prince and other leading men ; by Regent ; librarian illness officiousness of the Prince Regent's ; ; her of removal to Winchester ; death, July 18, 1817; view of her letters a foe to a life ; the tone ; sentimentality ; lover of nature ; a mild Conservative ; her novels accu- social life of the time her views rately depict the ; on her moral wealth ; religion ; the clergy ; teaching ; the CONTENTS. PAGE but novels not didactic, nor propngandist, very human ; country life as depicted in her novels compared with that the novels of unromantic their cha- of to-day ; necessity ; —the racters taken from a limited class gentry ; her work narrow in compass, but perfect in detail .
    [Show full text]
  • Harold Pinter's Transmedial Histories
    Introduction: Harold Pinter’s transmedial histories Article Published Version Creative Commons: Attribution 4.0 (CC-BY) Open Access Bignell, J. and Davies, W. (2020) Introduction: Harold Pinter’s transmedial histories. Historical Journal of Film, Radio & Television, 40. pp. 481-498. ISSN 1465-3451 doi: https://doi.org/10.1080/01439685.2020.1778314 Available at http://centaur.reading.ac.uk/89961/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1080/01439685.2020.1778314 Publisher: Taylor & Francis All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Historical Journal of Film, Radio and Television ISSN: 0143-9685 (Print) 1465-3451 (Online) Journal homepage: https://www.tandfonline.com/loi/chjf20 Introduction: Harold Pinter’s Transmedial Histories Jonathan Bignell & William Davies To cite this article: Jonathan Bignell & William Davies (2020): Introduction: Harold Pinter’s Transmedial Histories, Historical Journal of Film, Radio and Television To link to this article: https://doi.org/10.1080/01439685.2020.1778314 © 2020 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 18 Jun 2020. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=chjf20 Historical Journal of Film, Radio and Television, 2020 https://doi.org/10.1080/01439685.2020.1778314 INTRODUCTION: HAROLD PINTER’S TRANSMEDIAL HISTORIES Jonathan Bignell and William Davies This article introduces the special issue by exploring the transmediality of Harold Pinter's work.
    [Show full text]
  • The Surprising Consistency of Fanny Price
    Clemson University TigerPrints All Theses Theses 5-2019 "I Was Quiet, But I Was Not Blind": The urS prising Consistency of Fanny Price Blake Elizabeth Bowens Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation Bowens, Blake Elizabeth, ""I Was Quiet, But I Was Not Blind": The urS prising Consistency of Fanny Price" (2019). All Theses. 3081. https://tigerprints.clemson.edu/all_theses/3081 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. “I WAS QUIET, BUT I WAS NOT BLIND”: THE SURPRISING CONSISTENCY OF FANNY PRICE ——————————————————————————————————— A Thesis Presented to the Graduate School of Clemson University ——————————————————————————————————— In Partial Fulfillment of the Requirements for the Degree Master of Arts English ——————————————————————————————————— by Blake Elizabeth Bowens May 2019 ——————————————————————————————————— Accepted by: Dr. Erin Goss, Committee Chair Dr. Kim Manganelli Dr. David Coombs ABSTRACT Mansfield Park’s Fanny is not the heroine most readers expect to encounter in a Jane Austen novel. Unlike the heroines of Pride and Prejudice, or Emma, for example, she does not have to undergo any period of being wrong, and she does not have to change in order for her position to be accepted. In the midst of conversations about Fanny as a model of perfect conduct book activity, exemplary Christian morals, or Regency era femininity, readers and scholars often focus on whether or not Fanny exists as a perfect and consistent heroine, providing very strong and polarizing opinions on either side.
    [Show full text]
  • “Fanny's Price” Is a Piece of Fan Fiction About Jane Austen's Mansfield Park. I Ch
    Introduction to “Fanny’s Price” “Fanny’s Price” is a piece of fan fiction about Jane Austen’s Mansfield Park. I chose to write about Mansfield Park because while it interests me as a scholar, it is very unsatisfying to me as a reader. I was inspired to write this piece primarily by class discussion that led me to think of Fanny as sinister. One day, someone suggested that Fanny refuses to act in the play because she is always acting a part. I immediately thought that if Fanny was only acting righteous and timid, her real personality must be the opposite. On another day, Dr. Eberle mentioned a critical text accusing Fanny of being emotionally vampiric; immediately I thought of making her an actual vampire. When Frankenstein was brought up later, I realized that Fanny should be a vampire’s servant rather than a fully fledged vampire. She does not understand why Edmund prefers Mary, when he made her what she is. Because the film Mansfield Park makes Fanny essentially Jane Austen, it gives her power over all of the other characters and the plot. Watching it encouraged me to think of Fanny as manipulative. I find a reading of Fanny as a villain much more satisfying than my former reading of her as completely passive. I wrote “Fanny’s Price” in an alternate universe because that was the only way I could include real rather than metaphorical vampires. I wanted the vampires to be real because I feel that it raises the stakes for Mary, my heroine. I made Mary Crawford the heroine because of class discussion comparing her to Elizabeth Bennett.
    [Show full text]
  • Operaharmony
    #OPERAHARMONY CREATING OPERAS IN ISOLATION 1 3 WELCOME TO #OPERA HARMONY FROM FOUNDER – ELLA MARCHMENT Welcome to #OperaHarmony. #Opera Harmony is a collection of opera makers from across the world who, during this time of crisis, formed an online community to create new operas. I started this initiative when the show that I was rehearsing at Dutch National Opera was cancelled because of the lockdown. Using social media and online platforms I invited colleagues worldwide to join me in the immense technical and logistical challenge of creating new works online. I set the themes of ‘distance’ and ‘community’, organised artist teams, and since March have been overseeing the creation of twenty new operas. All the artists involved in #OperaHarmony are highly skilled professionals who typically apply their talents in creating live theatre performances. Through this project, they have had to adapt to working in a new medium, as well as embracing new technologies and novel ways of creating, producing, and sharing work. #OperaHarmony’s goal was to bring people together in ways that were unimaginable prior to Covid-19. Over 100 artists from all the opera disciplines have collaborated to write, stage, record, and produce the new operas. The pieces encapsulate an incredibly dark period for the arts, and they are a symbol of the unstoppable determination, and community that exists to perform and continue to create operatic works. This has been my saving grace throughout lockdown, and it has given all involved a sense of purpose. When we started building these works we had no idea how they would eventually be realised, and it is with great thanks that we acknowledge the support of Opera Vision in helping to both distribute and disseminate these pieces, and also for establishing a means in which audiences can be invited into the heart of the process too .
    [Show full text]
  • The Rise of Realism in Jane Austen's Clergy
    Georgia Southern University Digital Commons@Georgia Southern Electronic Theses and Dissertations Graduate Studies, Jack N. Averitt College of Spring 2012 Portraits of Progress: The Rise of Realism in Jane Austen's Clergy Rachel Elizabeth Cason Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/etd Recommended Citation Cason, Rachel Elizabeth, "Portraits of Progress: The Rise of Realism in Jane Austen's Clergy" (2012). Electronic Theses and Dissertations. 187. https://digitalcommons.georgiasouthern.edu/etd/187 This thesis (open access) is brought to you for free and open access by the Graduate Studies, Jack N. Averitt College of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. PORTRAITS OF PROGRESS: THE RISE OF REALISM IN JANE AUSTEN’S CLERGY by RACHEL ELIZABETH CASON (Under the Direction of Tom Lloyd) ABSTRACT This work examines the development of Austen’s characterization of the clergy. It uses examples of three prominent clerical types: Henry Tilney, too good to be true; William Collins, too ridiculous to be believable; and Edmund Bertram, realistic because he is both flawed and virtuous. Utilizing critical sources from the last sixty years, this thesis demonstrates that previous scholars have overlooked the idea that the development of Austen’s clerical characters can be used to chart Austen’s progress as
    [Show full text]
  • Fanny's Heart Desire Described in Jane Austen's
    FANNY’S HEART DESIRE DESCRIBED IN JANE AUSTEN’S MANSFIELD PARK THESIS Presented in partial fulfillment of the requirements for the completion of Strata I Program of the English Language Department Specialized in Literature By: RIRIN HANDAYANI C11.2007.00841 FACULTY OF LANGUAGES AND LETTERS DIAN NUSWANTORO UNIVERSITY SEMARANG 2012 1 PAGE OF APPROVAL This thesis has been approved by Board of Examiners, Strata 1 Study Program of English Department, Faculty of Languages and Letters, Dian Nuswantoro University on February 21st 2012. Board of Examiners Chairperson The 1st Examiner Haryati Sulistyorini, S.S., M.Hum. R. Asmarani S.S., M.Hum. The 2nd Examiner as 2nd Adviser The 3rd Examiner Sarif Syamsu Rizal, S.S., M.Hum. Valentina Widya, S.S., M.Hum. Approved by Dean of Faculty of Languages and Letters Achmad Basari, S.S., M.Pd. 2 MOTTO I hope you live a life you’re proud of, but if you find that you’re not. I hope you have strength to start all over again. Benjamin Button All our knowledge begins with the senses, proceeds then to the understanding, and ends with reason. Immanuel Kant Imagination is stronger than knowledge; myth is more potent than history, dreams are more powerful than facts, hope always triumphs over experience, laughter is the cure for grief, love is stronger than death. Robert Fulghum 3 DEDICATION To : - My beloved parents and siblings - Rinchun 4 ACKNOWLEDGEMENT At this happiest moment, I wish a prayer to the almighty who has blessed me during the writing of this paper. I would like, furthermore, to express my sincere thanks to: 1.
    [Show full text]
  • Emily Hodgson Anderson's
    Emily Hodgson Anderson’s “Mansfield Park and the ‘Womanly Style’ in Fiction” Review and Summary by Brad Pasanek “Mansfield Park and the ‘Womanly Style’ in Virginia Woolf’s honoring of Jane Austen as the in- Fiction” Emily Hodgson Anderson, an assis- ventor of a “woman’s sentence” and David Marshall’s tant professor of eighteenth-century litera- understanding of Fanny Price’s self-effacing manner INture at USC, considers how style is read as “a as performance. For Anderson the “womanly” sen- sign of sex.” In particular, the adjective “womanly” tence is a performance, a performance conditioned and the quality of womanliness fall under her scru- by genre and the history of genres, a performance tiny. This interesting, original reading of dramatic staged for changing audiences. Striving to compress and fictional performances concludes by presenting her historical observations of the period preceding Jane Austen’s Fanny Price as an emblem of a “wom- and following the turn of the nineteenth century, An- anly style” of indirection and mediation. derson claims that “womanly style” becomes increas- To be “womanly” is to possess “the qualities (as of ingly “androgynous”—a descriptor that Anderson, gentleness, devotion, fearfulness, and so forth) held may come to revise if not regret, and as such I’ll pass to be characteristic of women,” or so we read in the over the choice and substitute the term “impersonal” OED. But we learn from Anderson that to write in a in its place. Admittedly, “impersonal” may be no “womanly” way is not quite that. A “womanly style” more felicitous.
    [Show full text]
  • Sir Thomas Bertram, the Oppressor A
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Slavery, Gender, and Social Class in Mansfield Park: Sir Thomas Bertram, the Oppressor A graduate project submitted in partial fulfillment of the requirements for the degree of Master of Arts in English By Bobbie Metcalf May 2020 The graduate project of Bobbie Metcalf is approved: ___________________________________________ _________________ Dr. Lauren Byler Date ___________________________________________ __________________ Dr. Dorothy Barresi Date ___________________________________________ __________________ Dr. Charles Hatfield, Chair Date California State University, Northridge ii Table of Contents Signature Page ii Abstract iv iii Abstract Slavery, Gender, and Social Class in Mansfield Park: Sir Thomas Bertram, the Oppressor By Bobbie Metcalf Master of Arts in English Jane Austen’s Mansfield Park exposes her critical thoughts regarding Britain’s social and economic structure in relation to slavery, gender, and social class. Sir Thomas Bertram’s selfishness and position as an aristocratic, absentee-plantation owner highly inform various oppressions addressed in the novel. The estate name of Mansfield Park, Sir Thomas’s Antiguan plantation, and Sir Thomas himself allude to power and wealth created from slavery. The novel’s presentation of marriage negotiations and the expectations coupled with the restrictions of women highlight gender oppressions. Sir Thomas’s plantation, Fanny’s position of servitude within Mansfield Park, and, most especially, the threat and prospects of a life lived in poverty
    [Show full text]