Jane Austen is perched on a curious point in the literary timeline, caught somewhat between the eighteenth and nineteenth centuries, both of which influenced her work. She greatly admires Samuel Johnson (as demonstrated by the many Johnson quotes & references that can be found in her various works), and many, if not most, of her works are about a woman attempting to –or somehow finding herself- climbing the social ladder, out of her station and, through marriage, into a higher one. This is largely an influence of eighteenth century works, such as Pamela. Still, there is much of Romanticism and the nineteenth century in her works, as in their preference for intelligence and natural beauty over traditional wealth and caste systems. Austen’s work also dips into the Victorian concerns of sensational-realism, which is where Mansfield Park and its Pragmatism are mostly situated. In its exploration of modernity, shifting family dynamics, city and suburban lifestyles supplanting the country manors, parties, and public scandals, and politics (such as the Slave Trade and aristocratic corruption), Mansfield Park is much wider-reaching and more concerned with society and the world-at-large than her earlier works (whose simplicity and blind-eye caused her to be much maligned).
At the center of the story is Fanny Price, who leaves her parents’ home to live with her aunt and uncle at Mansfield Park. Fanny’s mother, though once beautiful, has been run ragged. She married beneath her and, soon after her marriage, her husband became permanently disabled and a drunk. Fanny, at first, is a black sheep at Mansfield. Although she is kind and mild in temperament, her female cousins tease her mercilessly and her ridiculous Aunt Norris spites her at every occasion. Eventually, through natural charm and beauty, Fanny does manage to win over her hosts, Sir Bertram and Lady Bertram (who is her mother’s sister) and also her cousin, the youngest brother of the family, Edmund.
Unlike Austen’s other works, which are largely episodic (likely because they were originally written or imagined in epistolary form), the style and structure of Mansfield Park is much more aligned with the traditional novel, with lengthy chapters and regular progression of time. Austen manipulates time and chronology in clever and subtle ways, so that the reader is navigated through the story without being given many direct reminders of where she is in the calendar. This is something typically Austen and can be seen in her other novels, particularly Pride and Prejudice; and though a simple thing, this control of time and keeping it both relevant and in the background truly helps hold the story together by maintaining the fictive illusion and also the structural integrity of the work.
In Mansfield Park there are balls and plays, flirtations and scandals. While most of Austen’s novels are rather complex, Mansfield Park is perhaps the most complex of all her work and is probably an inspiration for later Victorian novels (many of which are concerned with child orphans, their patronage and rise from nothingness into seemingly-unachievable stations). Fanny, like other Austen heroines, is a young woman on the verge of adulthood and who will find her place through her soon-to-be husband. Unlike other of Austen’s novels, though, which are primarily interested in the act of courtship, family, and love, Mansfield Park also tackles ideas of nature vs. nurture (what makes a person who they are?) and true positive qualities, in family and friends (both Edmund and his father, Lord Bertram, learn much about themselves and about others, by the end of the story – because of their growing appreciation for and admiration of the quiet but naturally classy Fanny). The book is also interested in the nature of vice and it uses two polar locales, the city and the country, as backdrops for “bad” and “good.” Surprising, for readers of Austen’s other works in particular, are the inclusions, though subtle, of sexuality (what we will eventually see from Freudian symbolism), of social and political morality, and of graphic poverty.
Ultimately, I find Mansfield Park to be one of the least exciting, most dense of Austen’s novels; however, it is also the most complex, the most daring, and the most revolutionary of her works. She takes many risks, borne out of disillusionment and hardship, which would likely inspire the next generation of Victorian novelists who would champion the lower classes and write for social justice. It was a difficult read, being slow-paced and simultaneously familiar to and wildly different from other Austen works, but while it may not be as perfectly constructed, entertaining, or accessible as her most popular work, Pride and Prejudice, it might just be her most important.
“I think it ought not to be set down as certain, that a man must be acceptable to every woman he may happen to like himself.”
“We do not look in great cities for our best morality.”
“Good-humoured, unaffected girls, will not do for a man who has been used to sensible women. They are two distinct orders of being.”
“Life seems but a quick succession of busy nothings.”
“She was not often invited to join in the conversation of the others, nor did she desire it. Her own thoughts and reflections were habitually her best companions.”
“I was so anxious to do what is right that I forgot to do what is right.”
“Let other pens dwell on guilt and misery. I quit such odious subjects as soon as I can, impatient to restore everybody not greatly in fault themselves to tolerable comfort, and to have done with all the rest.”
“Varnish and gilding hide many stains.”
“When I am out of doors, especially when I am sitting out of doors, I am very apt to get into this sort of wandering strain. One cannot fix one’s eyes on the commonest natural production without finding food for a rambling fancy.”