200th ANNIVERSARY EDITION
Mansfield Park is named for the magnificent, idyllic estate that is home to the wealthy Bertram family and that serves as a powerful symbol of English tradition and stability. The novel’s heroine, Fanny Pricea poor relation” living with the Bertramsis acutely conscious of her inferior status and yet she dares to love their son Edmundfrom afar. With five marriageable young people on the premises, the peace at Mansfield cannot last. Courtships, entertainments, and intrigues throw the place into turmoil, and Fanny finds herself unwillingly competing with a dazzlingly witty and lovely rival. As Margaret Drabble points out in her incisive Introduction, the house becomes full of the energies of discordsibling rivalry, greed, ambition, illicit sexual passion, and vanity,” and the novel grows ever more engrossing right up to Mansfield’s final scandal and the satisfying conclusion. Unique in its moral design and its brilliant interplay of the forces of tradition and change, Mansfield Park was the first novel of Jane Austen’s maturity, and the first in which the author turned her unerring eye on the concerns of English society at a time of great upheaval.
With an Introduction by Margaret Drabble and an Afterword by Julia Quinn
Though Jane Austen was writing at a time when Gothic potboilers such as Ann Ward Radcliffe's The Mysteries of Udolpho
and Horace Walpole's The Castle of Otranto
were all the rage, she never got carried away by romance in her own novels. In Austen's ordered world, the passions that ruled Gothic fiction would be horridly out of place; marriage was, first and foremost, a contract, the bedrock of polite society. Certain rules applied to who was eligible and who was not, how one courted and married and what one expected afterwards. To flout these rules was to tear at the basic fabric of society, and the consequences could be terrible. Each of the six novels she completed in her lifetime are, in effect, comic cautionary tales that end happily for those characters who play by the rules and badly for those who don't. In Mansfield Park
, for example, Austen gives us Fanny Price, a poor young woman who has grown up in her wealthy relatives' household without ever being accepted as an equal. The only one who has truly been kind to Fanny is Edmund Bertram, the younger of the family's two sons.
Into this Cinderella existence comes Henry Crawford and his sister, Mary, who are visiting relatives in the neighborhood. Soon Mansfield Park is given over to all kinds of gaiety, including a daring interlude spent dabbling in theatricals. Young Edmund is smitten with Mary, and Henry Crawford woos Fanny. Yet these two charming, gifted, and attractive siblings gradually reveal themselves to be lacking in one essential Austenian quality: principle. Without good principles to temper passion, the results can be disastrous, and indeed, Mansfield Park is rife with adultery, betrayal, social ruin, and ruptured friendships. But this is a comedy, after all, so there is also a requisite happy ending and plenty of Austen's patented gentle satire along the way. Describing the switch in Edmund's affections from Mary to Fanny, she writes: "I purposely abstain from dates on this occasion, that everyone may be at liberty to fix their own, aware that the cure of unconquerable passions, and the transfer of unchanging attachments, must vary much as to time in different people." What does not vary is the pleasure with which new generations come to Jane Austen. --Alix Wilber