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Does Fanny Price Possess An Independence of Spirit?Modern day readers and critics are quick to dismiss the heroine of Jane Austen’s Mansfield Park, Fanny Price as being a weak, submissive, passive and priggish female character. When compared to other Austen heroines, she is the least likely to be pegged as a strong, independent heroine or in modern terms a “feminist”. She does not possess the wittiness of Elizabeth Bennet or the boldness of Emma Woodhouse. Austen describes Fanny as “exceedingly timid and shy, and shrinking from notice” (Austen 6). She is an outwardly frail character who becomes exhausted and sickly any time she exerts herself physically or emotionally. Throughout the novel, Fanny remains mostly silent, quietly observing the other characters, who only attend to her when she is needed to run errands. Her willingness to act as a quasi-servant stems from her belief that it is her duty and obligation to do so in gratitude for being taken in by her wealthy relations. This belief stems from her own morals and from the standard expectations of her time. As an economically dependent lower-class female, Fanny must acquiesce to the authority of her relatives and social superiors. However, while Fanny may allow herself to be trodden on, taken advantage of and manipulated by everyone at Mansfield Park, when anything demanded of her goes against her personal code of integrity, she refuses to acquiesce. Such an act of rebellion, albeit inconsequential by modern standards of feminism would have been very significant at the time- especially when Fanny’s low rank is taken into consideration. Nevertheless, what Fanny’s negative critics fail to see is that they are projecting modern day ideals of feminism and femininity upon Austen’s heroine. This common misreading of Fanny through a contemporary feminist lens and not a historical one is what has prompted many critics to incorrectly view Fanny as “an image of weakness not strength, of obedience not independence” (McDonnel 197) and as “the ideal conduct book female” (Greenfield 315). According to Avrom Fleishman, “Fanny is presented not as a paragon of virtue but as a weak woman with self-defensive and self-aggrandizing impulses who, because of her economic dependency and her social inferiority, is forced to adopt a feminine, submissive style of life” (Fleishman 45). Jane McDonnel believes that Fanny “perfectly exemplifies the submissive ideal for a woman: gentle, modest, sweet-tempered and obedient” (McDonnel 201). Barbara K. Seeber argues that Fanny’s “inherent ‘weak character’ and [...] perceived passivity, frailty, and reticence continue to make her the least popular Austen heroine” (Seeber 104). Lionel Trilling went as far as to declare that: “Nobody I believe has ever found it possible to like the heroine of Mansfield Park” (Trilling 212). Marilyn Butler has also stated: “That Fanny is a failure is widely agreed” (Butler 238). For Nina Auberbach, Fanny is a “particularly unaccommodating heroine” (Auberbach 33). Some critics have also argued that Fanny has a degree of choice- that she willingly participates in her oppression. Moira Ferguson claims that Fanny “willingly cooperat[es] in her own assimilation” (Ferguson 73) and according to Margaret Kirkham, Austen “teases us about Miss Fanny” (Kirkham 117) and “laughs at Fanny when she herself acquiesces, as she often does, in the submissive role in which an unjust domestic order has cast her” (Kirkham 126). Thus far, the aforementioned critics have all misread Fanny. They have written her off as a submissive character and a weak embodiment of conduct book femininity. They have neglected to contextualize their readings within the Regency era, and have overlooked the more nuanced instances in the novel which reveal Fanny’s firm independence of will, inner strength and overall integrity. The claims these critics have made regarding Fanny are all erroneous; she is not a weak, submissive and passive character. By conducting a close reading of Fanny while bearing in mind the historical context which directs her character, these misguided allegations against Fanny can certainly be refuted. Thorough analysis of Fanny’s small acts of rebellion throughout the novel, such as her defiant silences and elusions of the male gaze will reveal that she does indeed possess an “independence of spirit”. Her autonomy of will is demonstrated by her ability to steadfastly adhere to her high moral principles despite all the social and patriarchal pressures inflicted upon her (especially the constant reminder that being of inferior status, it is her duty to express gratitude by submitting to her superiors). Fanny remains true to her moral code for the entirety of the novel, refusing to participate in the ethically objectionable play Lover’s Vows and refusing to marry the immoral Henry Crawford. One of the main arguments made by critics in favour of Fanny’s weakness and passivity is that she “never speaks her mind” (Greenfield 322). Fanny is silent for a great duration of the novel. She is even silent during crucial moments, where one would expect her to speak out, such as when she refuses to provide a valid explanation for her rejection of Henry’s proposal. However, Fanny’s silences do not necessarily entail weakness and passivity. In fact, Fanny’s silences are an exhibition of strength. Her silence is often employed when speaking would place her in a socially inappropriate position or jeopardize her morals. According to Marilyn Butler, Fanny’s “silences are the appropriate social demeanor of the Christian heroine, who is humble and unassertive[…] but they also imply the strength of someone who neither needs to seek advice nor to vindicate herself, because she has a source of strength both within and without” (Butler 240). By carefully examining the different shades of Fanny’s silences throughout the novel, it becomes evident that her silence is not a manifestation of female passivity, but a form of quiet resistance. Some of Fanny’s silences simply stem from the fact that due to her inferior status, she lacks social mobility and would be exhibiting impropriety if she were to speak. From the moment she is admitted to Mansfield Park, Fanny is made aware of her inferiority. Her relatives constantly endeavor “to make her remember that she is not a Miss Bertram” and that her “rank, fortune, rights, and expectations will always be different” (Austen 6). In compliance with the class expectations of the time, Fanny, being of a lower rank, is expected to remain silent in many social circumstances. She is not deemed important enough to share her opinions. Her aunt, Mrs. Norris does not hesitate to remind her of this:"The nonsense and folly of people's stepping out of their rank and trying to appear above themselves, makes me think it right to give?you?a hint, Fanny, now that you are going into company without any of us; and I do beseech and entreat you not to be putting yourself forward, and talking and giving your opinion as if you were one of your cousins—as if you were dear Mrs. Rushworth or Julia.?That?will never do, believe me. Remember, wherever you are, you must be the lowest and last” (Austen 115). Fanny knows her place well and would not jeopardize her good decorum in order to “put herself forward” as doing so would render her impolite. Her silences on such occasions, however, are then not a mark of passivity, but of social propriety. However, there are several instances where Fanny does “speak her mind” and is completely ignored. For example, during the excursion to Sotherton, Maria attempts to jump over an iron gate and Fanny tries unsuccessfully to prevent her: Fanny, feeling all this to be wrong, could not help making an effort to prevent it. "You will hurt yourself, Miss Bertram," she cried; "you will certainly hurt yourself against those spikes; you will tear your gown; you will be in danger of slipping into the ha-ha. You had better not go." Her cousin was safe on the other side while these words were spoken, and, smiling with all the good-humour of success, she said, "Thank you, my dear Fanny, but I and my gown are alive and well, and so good-bye" (Austen 53). Maria does not even pause to listen to her cousin; Fanny’s opinion is inconsequential. Another instance when Fanny “speaks her mind” and is ignored is when she asks Sir. Thomas about the slave-trade and her inquiry is met with “a dead silence” (Austen103). When Edmund asks her why she did not inquire of her uncle further, Fanny says, “I longed to do it […but…] I did not like- I thought it would appear as if I wanted to set myself off at their [her cousins’] expense, by shewing a curiosity and pleasure in his information which he must wish his own daughters to feel” (Austen 103). Once again, this illustrates how Fanny’s inferior rank hinders her from speaking as even if she does speak, her opinions are most likely to be disregarded and ignored. Another example of Fanny speaking her mind and being dismissed is when she tells Edmund that “If Miss Bertram were not engaged […] I could sometimes almost think that he [Henry Crawford] admired her more than Julia” (Austen 63). Edmund discounts Fanny’s observation, claiming that she is mistaken and there is no danger. Ironically, Fanny turns out to be right. It is no surprise then when Edmund comes to consult Fanny about his decision to play the part of Anahlt and asks for her opinion that “Fanny shrink[s] from such a compliment” (Austen 81). This response is indicative of how seldom Fanny’s opinion is requested. Accustomed to being ignored, she is shocked that anyone would respect her opinion. However, despite Edmund’s direct request, “Fanny could not answer him” (Austen 82). When he presses her further, Fanny is still hesitant to speak, not because she is passive, but because she knows that regardless of what she says, Edmund’s decision has already been resolved. He is merely consulting her to gain her approval and since Fanny’s “heart and judgment were equally against Edmund's decision”, (Austen 84) she elects to remain silent. She cannot bring herself to agree with Edmund, particularly when he praises Mary Crawford. Fanny is mindful of what she says and although she will not condemn Mary out loud, her conscience does not allow her to speak dishonestly either. She tells Edmund “I am glad to have [Mary] spared" (Austen 83) but according to the narrator, Fanny “could not finish the generous effusion. Her conscience stopt her in the middle” (Austen 83). In this case, her silence is a moral stance against deceit. Fanny cannot speak either way without breaching her moral code. Thus, silence is the most ethically sound route for her to take. A similar situation arises later on in the novel in yet another a conversation between Edmund and Fanny, in which Edmund once again praises Mary Crawford and Fanny chooses to remain silent: “Fanny could have said a great deal, but it was safer to say nothing, and leave untouched all Miss Crawford's resources—her accomplishments, her spirits, her importance, her friends, lest it should betray her into any observations seemingly unhandsome. Miss Crawford's kind opinion of herself deserved at least a grateful forbearance, and she began to talk of something else” ( Austen 104). In this case, Fanny is simply adhering to her strict moral code by actively refraining from speaking ill of Mary Crawford. Austen’s use of the phrase “grateful forbearance” emphasizes that it is Fanny’s choice not to speak because she does not wish to repay Mary’s kindness with her unseemly observations. It would be ethically questionable to do so. In this instant, by not speaking her mind, Fanny remains true to herself. By exercising “forbearance” instead of speaking, Fanny is in fact not assuming a passive position, but an active one. Even though, in this instance, Fanny could have “spoken her mind” without breaking social decorum, she herself chooses to remain silent as speaking would violate her own principles. Yet, critics still fail to recognize that some of Fanny’s silences are voluntary acts of resistance. “Susan C. Greenfield argues that “throughout the text, [Fanny] remains a model of obedience and silence, never once, for instance, openly explaining her objections to Henry” (Greenfield 321). Fanny does not openly explain her objections to Henry because doing so would require her to go against her moral code. When Sir Thomas asks Fanny to provide a reason for her refusal, Fanny is faced with a moral dilemma; she cannot reveal Henry’s indiscretions without also implicating her cousins: “Her ill opinion of him was founded chiefly on observations, which, for her cousins' sake, she could scarcely dare mention to their father. Maria and Julia, and especially Maria, were so closely implicated in Mr. Crawford's misconduct, that she could not give his character, such as she believed it, without betraying them” ( Austen 164). Fanny chooses to remain silent and suffer the disapproval and accusations of her uncle even though her “heart was almost broke by such a picture of what she appeared to him” (Austen 164). Speaking her mind in this case would have been the easier option but Fanny, who “would rather die than own the truth” (164) maintains her integrity at the expense of her own happiness. She refuses to explain herself any further and “to her infinite grief […] the simple acknowledgement of settled dislike on her side” was not a sufficient explanation for Sir. Thomas. He is unable to read Fanny’s silences: “I do not catch your meaning” (Austen 162). Unaware of Fanny’s courageous sacrifice on behalf of her cousins, Sir Thomas accuses her of being selfish. Nevertheless, she adheres to her principles and remains silent despite her uncle’s unfavourable accusations. Therefore, as illustrated by the examples above, Fanny’s silences throughout the novel are not a sign of passivity but an indication of her strong sense of morality and personal integrity. However, what is to be said of Fanny’s general lack of action throughout the novel? Anna Despotopoulou attempts to answer this question in her in her essay, “Fanny's Gaze and the Construction of Feminine Space in "Mansfield Park"”. She argues that Fanny’s action lies in her small acts of defiance against male authority and that “Fanny's most forceful moments of defiance take place when she tries to withstand the male gaze” (Despotopoulou 579). Throughout the novel, Fanny actively avoids the male gaze, a choice which liberates her from the confines of patriarchal ideology and demonstrates her independence of will. These moments of defiance are subtle, however, and can be easily missed by the undiscerning reader. Critics, such as Jane Mcdonell have been quick to condemn Fanny for her apparent passivity, remarking that Mansfield Park is “the story of a girl who triumphs by doing nothing" (McDonell 197). What critics have failed to realize is that in some instances by “doing nothing”, Fanny is actually defying the male gaze. For example, Fanny does not actively pursue Edmund because to do so would mean succumbing to the male gaze and to conduct book expectations whilst disregarding her own morals. Also, by modern standards of feminism, a strong independent woman is one who boldly pursues her love interest so Fanny’s inaction would certainly label her as weak and passive woman today. However, the standards of femininity during the regency era were quite different. The education of female’s during Fanny’s time was “aimed simply at making young women desirable to men of a good social position” (Armstrong 96), and to train them for “coming out” into the marriage market wherein they would become the object of the male gaze. There are many conduct books which instruct women on how to properly behave in order to attract and secure a husband. In her A Vindication of the Rights of Women, Wollstonecraft criticizes this method of education, describing female display as a form of slavery. She says “genteel women are, literally speaking, slaves to their bodies”. Moreover, she says “Women are, in fact, so much degraded by mistaken notions of female excellence[…] that this artificial weakness produces a propensity to tyrannize, and gives birth to cunning, the natural opponent of strength, which leads them to play off those contemptible infantine airs that undermine esteem even whilst they excite desire.” In other words, women who overtly put themselves on display and exert effort to mold themselves into desirable brides are weak because they have succumbed to the male gaze. Despotopoulou maintains that Wollestonecraft is attacking “those women who construct their outer and inner selves according to the male gaze, and who are preoccupied more with their social projection than their private education and improvement” (Despotopoulou 575). She further claims that “the juxtaposition of strength and cunning captures the difference between Fanny and Mary respectively, as the former dares to withstand male authority and the latter employs feminine tactics in order to achieve her goal- marriage ( Despotopoulou 575): '"I will stake my last like a woman of spirit. No cold prudence for me. I am not born to sit still and do nothing. If I lose the game, it shall not be from not striving for it"' (Austen 126). Mary plays “the game” by being cunning and putting her body on display so as to be desirable to the male gaze, methods that for Wollstonecraft constitute weakness. On the other hand, Fanny’s refusal to participate in the game is an act of defiance against female objectification and constitutes strength. Conversely, Fanny’s tendency to evade male spectatorship is challenged when Sir. Thomas returns from Antigua. She excludes herself from the male gaze by hiding behind the door but Sir. Thomas is the one calls her into the drawing room, subjecting her to his gaze: "But where is Fanny? Why do not I see my little Fanny?"—and on perceiving her, came forward with a kindness which astonished and penetrated her, calling her his dear Fanny, kissing her affectionately, and observing with decided pleasure how much she was grown! Fanny knew not how to feel, nor where to look. She was quite oppressed [...]. He led her nearer the light and looked at her again—inquired particularly after her health, and then, correcting himself, observed that he need not inquire, for her appearance spoke sufficiently on that point. A fine blush having succeeded the previous paleness of her face, he was justified in his belief of her equal improvement in health and beauty” (Austen 93 – italics added for emphasis). Examining the above text closely, especially the italicized portions, illustrates the prominence of Sir. Thomas’s gaze in this scene. Social decorum and her obligation to Sir. Thomas make it impossible for Fanny in this instant to avoid male gaze, but she feels greatly “oppressed” by it and does not welcome it. When she makes her discomfort known to Edmund, he rebukes her, stating “If you cannot bear an uncle's admiration, what is to become of you? Youmust really begin to harden yourself to the idea of being worth looking at” (Austen 103). However, Fanny does not like being looked at because subjecting herself to male spectatorship would be morally degrading. That is why for most of the novel, she defies the male gaze. Perhaps, the most noteworthy instance in which Fanny defies the male gaze is when she refuses to participate in the play, Lovers Vows. According to Despotopoulou, “ in [the] play, by fulfilling the male fantasy of the sexually active woman, Maria Bertram and Mary Crawford willingly,[…] become the objects of the male gaze” (579). Fanny, on the other hand, does not allow herself to be objectified. Tom Bertram tries to coerce her into accepting the role of the cottager’s wife- a role which Mr. Yates describes as being “the most trivial, paltry, insignificant part” (Austen 72). Despite Fanny’s insistence that she cannot act, this role is deemed fit for Fanny by Tom because he has no interest in her “acting”, but wants her merely as a passive, decorative object on stage. He tells her, “it will not much signify if nobody hears a word you say […] but we must have you to look at [...]I'll put you in and push you about, and you will do it very well” (Austen 78). Fanny refuses to submit to Tom, and despite her apprehension at being “the only speaker in the room”, she stands firmly by her claim: “you must excuse me […] I cannot act” (Austen 78). Fanny’s claim that she cannot act has a double meaning. She cannot act in the play but she also cannot act the part of the conduct book female. Unlike Maria and Mary, she does not attempt to showcase herself in a way that would make her desirable to men, which is in direct opposition to what conduct books proposed. Women were supposed to behave in a manner that would garner approval from males; however, Fanny’s rules of conduct are independently constructed based upon her own code of morality, and not patriarchal authority. Therefore, by refusing to act in the play, and in her everyday life, Fanny retains her independence and integrity. If Fanny actively refuses to submit to the male gaze and to be “pushed about” by Tom in the play, why then does she submit to her social superiors at Mansfield and allow them to push her around? Why does she retain her position as a virtual servant to the family throughout the novel? How can someone with an independence of will be so submissive? Is that not contradictory? The Encarta dictionary defines the word submissive as “giving in or tending to give in to the demands or authority of others”. However, a more extensive definition must be established in the case of Fanny. By attending to her family’s demands, Fanny is not passively submitting to their authority, rather she is gratefully fulfilling her moral obligation towards “those to whom she owed the greatest complaisance” (Austen 81). According to Jane McDonell, “as a poor relation with no rights to Mansfield Park, Fanny must earn a place for herself by all the arts of "gratitude” (McDonell 203). From the very beginning of the novel, it is emphasized that Fanny must show gratitude for being taken in. On the way to Mansfield, Mrs. Norris speaks to Fanny of “her wonderful good fortune, and the extraordinary degree of gratitude and good behaviour which it ought to produce” (Austen 7). Fanny is also constantly reminded throughout the novel that she must be grateful. For example, Edmund who believes Fanny “has a grateful heart that could never receive kindness without wishing to return” (Austen 14), accuses her of having “an air of ingratitude” (Austen 137) when she informs him of her wish to return Mary’s necklace. To “oblige Edmund” (141) and to show gratitude to Mary, Fanny ends up wearing the necklace to the ball. In this case, Fanny does submit to Edmund’s request. However, when anything demanded of her goes against her personal code of integrity, she exercises her own will and refuses to submit. Fanny’s independence of will is best exemplified by her refusal to act in the play and through her rejection of Henry’s proposal. Despite the pressure Fanny experiences from everyone when she refuses to participate in Lover’s Vows, she remains firm in her stance. To say “no” to Tom and the rest of her relations is a great act of defiance. By “not [doing] what her aunt and cousins with her [to]”, she is according to Mrs. Norris being “a very obstinate, ungrateful girl [..]- very ungrateful, indeed, considering who and what she is” (Austen 79). How can Fanny refuse when she feels that “the claims of her cousins to being obliged were strengthened by the sight of present upon present that she had received from them” (Austen 81)? She owes them her compliance. Fanny is not in a position to refuse, and yet she does because giving in to her cousins would mean betraying her own morality. She will not partake in a morally objectionable play, even if that means "[she] must be a brute, indeed, if [she] can be really ungrateful” (Austen 167). Furthermore, Fanny’s rejection of Henry is an even greater act of defiance. Everyone is against her. Lady Bertram thinks “that it is every young woman’s duty to accept such a very unexceptionable offer as this” (Austen 173). Maria believes matrimony to be a duty once a female turns twenty one- “as a marriage with Mr. Rushworth would give her the enjoyment of a larger income than her father's[…] it became, by the same rule of moral obligation, her evident duty to marry Mr. Rushworth if she could” (Austen 20). Mary Crawford also believes that “it is every body's duty to do as well for themselves as they can [in marriage]” (Austen 150). Additionally, as aforementioned, female education was all aimed at ensuring women were taught how to fulfill their duty of marriage. Edmund too pressures Fanny, believing she has a duty to try and love the man who is responsible for her brother's promotion: ‘“I cannot suppose that you have not the wish to love him — the natural wish of gratitude. You must have some feeling of that sort. You must be sorry for your own indifference”’ (Austen 180). Edward also tells her that she should “prove [herself] grateful” and “let [Henry] succeed at last” (Austen 180). Sir Thomas labels Fanny’s rejection as a “gross violation of duty and respect” (Austen 165) and accuses her of ingratitude. Yet, Fanny, who is as previously illustrated averse to seeming ungrateful, chooses to appear ungrateful to her relatives rather than violate her principles. She will not marry a morally objectionable man, nor will she reveal her reasons for refusing the proposal. Instead, she chooses to endure the accusations of ingratitude her relatives have made against her. Therefore, Fanny proves that she does in fact have an autonomy of will by rejecting Henry’s proposal since by doing so she is defying not only her family’s authority, to whom she feels that she owes grateful allegiance, but also the entire patriarchal ideology of the time. In conclusion, Fanny Prince does indeed possess “an independence of spirit”. Modern critics may disagree, but by not historically contextualizing their readings of Fanny and analyzing her character through a contemporary feminist lens instead, they have misread Austen’s heroine. They have mistakenly labelled her as a weak, submissive and passive character. However, by conducting a thorough, historically conscious reading of Fanny, these erroneous allegations made by critics are proven false. Fanny continually demonstrates her independence of will, inner strength and overall integrity through her small acts of rebellion throughout the novel. For instance, her silences in several cases, such as when she refuses to explain her objections to Henry can be read as a form of resistance. She elects to remain silent rather than violate her principles. Fanny proves that she is not passive through her active defiance of the male gaze, and her refusal to be objectified. Additionally, although she is obligated to express gratitude to her superiors through constant complaisance, Fanny refuses to submit when doing so goes against her moral code. To the very end, Fanny steadfastly adheres to her moral principles, notably through her refusal to act in the immoral play Lover’s Vows and her rejection of the immoral Henry Crawford. Thus, Fanny by possessing strong inward integrity and by remaining true to herself is able to preserve her independence of will. Works CitedArmstrong, Nancy.?Desire and Domestic Fiction: A Political History of the Novel. New York: Oxford UP, 1987. Print.Auerbach, Nina. Romantic Imprisonment: Women and Other Glorified Outcasts. New York : Columbia University Press, 1985. Print. Austen, Jane.?Mansfield Park.?Project Gutenberg. 25 May 2008. Web. Nov. 2013.Butler, Marilyn. "Mansfield Park."?Jane Austen and the War of Ideas. Britain: Clarendon, 1975. 219-49. Print.Despotopoulou, Anna. "Fanny's Gaze and the Construction of Feminine Space in "Mansfield Park"" 99.3 (2004): 569-83.?JSTOR. Web.?Nov. 2013. Ferguson, Moira. Colonialism and Gender Relations from Mary Wollstonecraft to Jamaica Kincaid: East Caribbean Connections. New York: Columbia University Press, 1993. Print.Greenfield, Susan C. "Fanny's Misreading and the Misreading of Fanny: Women, Literature, and Interiority in Mansfield Park."?Texas Studies in Literature and Language?6.3 (1994): 306-27.?JSTOR. Web. Nov. 2013.Fleishman, Avrom. "The Psychology of Moral Character."?A Reading of Mansfield Park; an Essay in Critical Synthesis.?Minneapolis: University of Minnesota, 1967. 43-56. Print.Kirkham, Margaret: “ Feminist Irony and the Priceless Heroine of Mansfield Park.” In Jane Austen’s Mansfield Park, 117-22. New York: Chelsea, 1987. Print. McDonnell, Jane. ""A Little Spirit of Independence": Sexual Politics and the Bildungsroman in "Mansfield Park""?NOVEL: A Forum on Fiction?17.3 (1984): 197-214.?JSTOR. Web.Nov.2013.Seeber, Barbara Karolina. "Silent Suffering in Mansfield Park."?General Consent in Jane Austen: A Study of Dialogism. Montreal: McGill-Queen's UP, 2000. 95-115. Print.“Submissive."?Encarta World English Dictionary. Microsoft Word. Trilling, Lionel. The Opposing Self. New York: Viking, 1955. Print. "Wollstonecraft, Mary. 1792. A Vindication of the Rights of Woman."?Wollstonecraft, Mary. 1792. A Vindication of the Rights of Woman. Web. Nov. 2013. ................
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