Jane Austen (34 page)

Crawford's charms and her actual dislike of him as a man. Most men do not discover a charm in indifference and dislike, but the majority of men are not unusually attractive to women and accustomed to being run after by them from their earliest years. That such men do exist, however infrequently, and that they find a unique challenge in a woman's lack of response, had been amply demonstrated in those years immediately prior to the publication of
Mansfield Park
. Lord Byron's marriage proves once and for all that Jane Austen was

correct in her view of the man, blasé with female attention, when he meets a woman who does not like him. The only intelligent action of Lady Caroline Lamb in her connection with him was her refusal, when they first met, to allow him to be introduced to her.

But the charm of Fanny's coldness is not allowed to operate on Henry Crawford until her beautiful cousins are out of the way, and he is left at Mansfield with no other female society besides his sister and Mrs. Grant. He had already been described as feeling the want of something to do, and he undertook to make Fanny fall in love with him merely as the diversion of an idle fortnight. It was her totally unexpected

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* See also Jane Austen's handling of Edmund's falling in love with Fanny:

"I purposely abstain from dates on this occasion, that every one may be at liberty to fix their own, aware that the cure of unconquerable passions, and the transfer of unchanging attachments, must vary very much as to time in different people." Ch. 48.

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resistance which made him examine her with such attention, fancy that she was grown taller and see for the first time how beautiful her delicate complexion was. Once his attention was truly concentrated upon her, he was able to perceive the charm of her moral qualities, and "that sweetness which makes so essential a part of every woman's worth in the judgment of man, that though he sometimes loves where it is not, he can never believe it absent." When the time comes, we feel that it is perfectly natural that he should be able to see so much; but a less conscientious realist than Jane Austen would, to increase the heroine's triumph, have made him out as able to see it far too soon.

Another aspect of the honesty with which the emotional interest of
Mansfield Park
is handled lies in the author's candid admission that had Henry Crawford but refrained from entangling himself again with Mrs. Rushworth, he would certainly have overcome Fanny's

resistance in the end. The marriage of Edmund and Mary, which was on the point of being brought about when Maria's elopement caused the general upheaval, would, Jane Austen says, have been of great assistance to Crawford, because it would have given Fanny the most urgent incentive to overcome her passion for her cousin; and with that obstacle removed, Crawford's assiduity and tact and his very great powers of pleasing would not have been permanently

withstood by an inexperienced girl of eighteen. She had, in fact, begun to like him already.

Mrs. Norris is the most strongly disagreeable of all Jane Austen's creations, yet the character is a subtle one. She exhibited the very curious state of mind which made her go out of her way to get Fanny adopted by the Bertram family, and then watch with ferret-like eagerness to see that she was never treated as anything but an inferior dependent;

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the opportunity for her activities being provided by the passive, uncomplaining nature of Fanny, the sloth of Lady Bertram and the fact that Sir Thomas, dignified and aloof, knew very little of the domestic details of Mansfield. The reconciliation of two such

different lines of conduct lies, of course, in Mrs. Norris' passion for gratifying her sense of power. She was moderately well off herself, but she could not bear to spend her own money, but only that of other people; "nobody knew better how to dictate liberality to others." "'Well, and if they were
ten
,' she cried, when Mr. Rushworth mentioned that Repton's terms were five guineas a day, 'I am sure you need not regard it. The expense need not be any impediment. If I were you, I should not think of the expense. I would have everything done in the best style and made as nice as possible. For my own part, if I had anything within the fiftieth part of the size of Sotherton, I should be always planting and improving, for, naturally, I am

excessively fond of it. It would be too ridiculous for me to attempt anything where I am now, with my little halfacre. It would be quite a burlesque.'"

The avid anxiety to connect herself with the wealth and luxury of
Mansfield Park
and to behave almost as if she owned it, which is rendered possible by the torpor of Lady Bertram, is shown in small ways: she was in agony, on the evening of Sir Thomas' return,

because "It had left her nothing to do." "Would Sir Thomas have consented to eat, she might have gone to the housekeeper with

troublesome directions, and insulted the footmen with injunctions of despatch; but Sir Thomas resolutely declined all dinner; he would take nothing, nothing till tea came--he would rather wait for tea.

Still, Mrs. Norris was at intervals urging something different; and in the most interesting moment of his passage to England, when the alarm of a French privateer

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was at the height she burst through his recital with the proposal of soup."

Her anxiety that no one should infringe upon the prerogatives she has acquired for herself makes her resentful of Susan's arrival with Fanny when the latter returns from Portsmouth. "She felt her as a spy, and an intruder, and an indigent niece, and everything most odious." And her desire that no one but herself outside the immediate family of Mansfield should receive anything that might be going, as well as her eagerness to domineer, are shown with extraordinary imaginative power in the scene when she talks to Fanny when it has been decided that the latter shall accompany Edmund to the Grants' dinner party.

Of the good side of her nature, which, however small, could not, in so convincing a portrait of a human being, be altogether absent, Jane Austen has indicated an aspect when she says that though Mrs. Price would have done as well in a situation of ease as Lady Bertram, Mrs.

Norris would have made much better work of bringing up nine

children on a small income. Another is her affection for the Bertram nephews and nieces. This is so inextricably mingled with her desire to associate herself with the family of Mansfield Park, and her base and selfish desire bears fruit in something so natural and good, the complexity gives the reader a sensation of uneasiness and pain. One does not despise her because, when catastrophe overwhelms the

family, she is reduced to impotence; her appearance, stupefied by shock, is much more respectable than her practical and overbearing behavior throughout the previous part of the book; and her blind championing of Maria, though it may be ascribed to a desire to vindicate herself, is something so nearly approaching what is

lovable, that though everybody, including Jane Austen, is delighted to see the last of her, one feels

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as she makes her exit that here is something profounder than

comedy, even in its deepest interpretation.

Mansfield Park
contains more of those fragments which we can recognize as of Jane Austen's own biography than any of the other novels. There is the amber cross given by William to Fanny; the tradition that William Price's character, in its boldness, its love of dancing, and its brotherly affection, contained many elements of that of Charles Austen; the likeness of Mary Crawford to Madame de

Feuillide which has already been touched upon; and the interest of a house party in private theatricals.

Jane Austen's treatment of the episode of Lover's Vows is an

illustration of how true her material is to the unvarying essence of human nature even where the medium in which it is presented has gone out of fashion. Edmund Bertram's principal objection to the Mansfield theatricals --that there was something intrinsically improper in undertaking them at all--seems at first sight groundless not only by our standards, but by those of his own time.

The frankness of the present day and its lack of prejudice are much nearer to the spirit of the early nineteenth century than to that of the Victorian era. At the same time, the ideas regulating ordinary behavior in country districts were altogether different from our own.

It is true that in London, the Duchess of Devonshire, canvassing for Fox, beguiled votes from butchers and chimney-sweeps with kisses; that Lady Caroline Lamb visited Lord Byron's rooms at night

dressed as a boy; that men emblazoned with stars and orders

crammed into Harriet Wilson's modest opera box, while their

duchesses bridled in haughty isolation on the opposite tiers. All this was a commonplace in the world of Mary Crawford. But when Mary came to Mansfield, she felt the difference with a vengeance. There, as in the remote country

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it still does, propriety ruled unchallenged; and interminable

rehearsals with people, four of whom were very conscious though unacknowledged lovers, and two of whom were making love under

the jealous and resentful eye of the man to whom the lady was

engaged, provided something to which a well-bred man of

conventional views such as Edmund Bertram might very reasonably object. Of more importance to the fundamental reality of the novel, the situation was one which, quite apart from any question of

propriety, was bound to cause very strong feelings of excitement and unrest in the different characters.

With regard to the condemnation of the play, chiefly conveyed to us through Fanny's opinion of it, one is at first surprised at its being considered "totally unfit" for home presentation. The language of Mrs. Inchbald's translation is so decorous that it is difficult at first sight to see why it should not have been pronounced by anybody; but such an opinion is the result of a failure in imagination. Mrs.

Inchbald called her translation
Lover's Vows
, but Kotzebue had called the original
Das Liebes Kind
--in plain English,
The Bastard
.

The sub-plot, which was to have been supported by Edmund and

Mary, concerns the wooing by Baron Wildenheim's daughter of her tutor Anhalt, who loves her but feels it out of the question to say so; but the main theme concerns the rescue of Agatha by her illegitimate son, the latter's recognition by his father, Baron Wildenheim, and the Baron's belated reparation in marrying the waiting-maid he had seduced twenty years before. There is nothing in this of a startling character, and none of the Mansfield party, not Edmund, not even Fanny, would have objected to seeing Lover's Vows in the

professional theatre. But Edmund put his finger on the genuine objection to the business when he drew the distinction between

"good, hardened acting"

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and the efforts of ladies and gentlemen. Anyone who has seen an amateur company attempt such a play as Rain before an audience of their fellow townsmen who punctuate the performance with loud

guffaws in the wrong place, can realize at once the real force of Edmund Bertram's, or indeed Jane Austen's, objection to the party's choice of
Das Liebes Kind
. In the Mansfield production of the play Agatha and Frederic faded out of the picture: it was Maria Bertram who clasped Henry Crawford to her bosom and hailed him as her

illegitimate son, and Mr. Yates who repented of having seduced her and offered to make the position good.

It is characteristic of Jane Austen that though she presents the theatricals in a wonderfully varied light, using the episode as a touchstone to bring out the essential attributes of every single person in any way connected with them, yet her final rounding-off of the situation is one of brilliant comedy. Sir Thomas, having arrived at Mansfield and exchanged greetings with his family, finds he cannot settle down to his first evening at home without having one look at his own dear room, and walks away to it before anyone has time to warn him of the rehearsal his sudden appearance has broken off.

"Sir Thomas had been a good deal surprised to find candles burning in his room: and on casting his eye round it, to see other symptoms of recent habitation and a general air of confusion in the furniture.

The removal of the bookcase from before the billiard-room door struck him especially, but he had scarcely more than time to feel astonished at all this before there were sounds from the billiard-room to astonish him still further. Someone was talking there in a very loud accent; he did not know the voice--more than talking--almost hallooing. He stepped to the door, rejoicing

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at that moment in having the means of immediate communication, and opening it, found himself on the stage of a theatre, and opposed to a ranting young man, who appeared likely to knock him down

backwards. At the very moment of Yates perceiving Sir Thomas, and giving perhaps the very best start he had ever given in the whole course of his rehearsals, Tom Bertram entered at the other end of the room; and never had he found greater difficulty in keeping his countenance. His father's looks of solemnity and amazement on this, his first appearance on any stage, and the gradual metamorphosis of the impassioned Baron Wildenheim into the well-bred and easy Mr.

Yates, making his bow and apology to Sir Thomas Bertram, was

such an exhibition, such a piece of true acting as he would not have lost upon any account."

The portion of the story which takes Fanny to her home in

Portsmouth is Jane Austen's only excursion into the rough and

sordid, but is accomplished with such force as dispels the illusion that her range was restricted to the narrow circle of the well-to-do.

Mr. Price's squalid household is redeemed by the tang of sea air that sweeps through it, given to us with particular strength in the description of the Sunday walk the Prices, accompanied by Henry Crawford, take on the ramparts.

"The day was uncommonly lovely. It was really March; but it was April in its mild air, brisk soft wind, and bright sun, occasionally clouded for a minute; and everything looked so beautiful under the influence of such a sky; the effects of the shadows pursuing each other on the ships at Spithead and the island beyond, with the ever-varying hues of the sea, now at high water, dancing in its glee and dashing against the ramparts with so fine a sound, produced