The Cambridge Introduction to Jane Austen (Cambridge Introductions to Literature) by Janet Todd

Author:Janet Todd [Todd, Janet]
Language: eng
Format: epub, pdf
Publisher: Cambridge University Press
Published: 2015-02-27T19:00:00+00:00

Literally or figuratively?

The earnestness of Mansfield Park is buttressed by a new sense of significance in its episodes, Austen's experimental use of symbolism less to structure the book than to delineate the complex interaction between inner and outer, memory and desire. Two main examples are the powerful and troubling sequence at Sotherton, named an afternoon of ‘cross accidents’, and the underworld episode of Fanny in Portsmouth.

During Sir Thomas's absence, encouraged by Mrs Norris, Maria enters an engagement with Mr Rushworth of Sotherton Court. The arrival at Mansfield parsonage of the vivacious Henry and Mary Crawford changes all relationships and, like the scene-painter in the theatricals who makes five of the housemaids ‘dissatisfied’, the pair destabilise those above stairs: both Bertram daughters are soon in love with Henry, while Edmund, the worthiest Bertram son, is captivated by Mary – though he looks grave every time she utters a sprightly riposte. His cousin Fanny, whose childish gratitude and affection are fast maturing into adult desire, looks on jealous, appalled, and mainly silent. At this point, a combined visit to Sotherton is planned, ostensibly to advise Rushworth on improving his ancient estate.

The party join together in the modernised chapel abandoned for public use by Rushworth's predecessor – with his new ‘improvements’ Rushworth is seeking to obliterate still more of the past. Here the social aspect of religion emerges from light chatter. The jealous sister Julia declares Maria is standing in such a way as to indicate her marriage to Rushworth. Maria's horror and Henry Crawford's flirtatious use of it – ‘“I do not like to see Miss Bertram so near the altar”’ – clarify Maria's hopes that her engagement will be destroyed by a counter proposal. Julia also jolts the other ‘courting’ couple, since the wedding she imagines would be performed by Edmund, who, Mary now discovers, is destined for the Church. She is shocked, for she has mocked the ‘cloth’ and despises the profession: ‘A clergyman is nothing.’ When she remarks that the ending of private services is Sotherton's only present ‘improvement’ – the shy Fanny is provoked into her first long speech. She has internalised a picture of the estate reminiscent of Ben Jonson's country house poem ‘To Penshurst’, where ‘Each morn, and even, they [the noble family] are taught to pray, / With the whole household.’6 Her speech is a direct plea for her mentor Edmund's approval and angrily she waits for him to rebuke Mary. Instead, he later talks of Mary's ‘lively mind’ and excuses anything ‘indecorous’ in her words by alluding to the influence of a difficult and uncongenial home environment.

All has gone wrong in the chapel, and, as Mary remarks, people want ‘air and liberty’. As soon as possible the young people exit into the pleasure grounds to find ‘happy independence’ and indulge in ‘fault-finding’, ostensibly of the estate but also of each other. They walk for a while in the wilderness – a plot of garden planted with various trees to suggest ‘wild’ nature but very much part of the cultivated and managed ground, a safe place especially for ladies.

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