Mansfield Park (Ignatius Critical Editions)

In all things, Jane Austen was a woman of faith. Perhaps nowhere is this more apparent than in Mansfield Park, her most neglected, abused, and misunderstood novel. Like Austen's other novels, it can be fully appreciated only when illuminated by the virtuous life and Christian beliefs of the author herself.

Mansfield Park is a novel about ordination, and about the family. It delves into questions of the education and upbringing of children, of conservative values, of parental authority, of the propriety and place of romantic love, of the tension between propriety and sophistication, and of the dangers of undue familiarity outside the family circle. It unerringly displays the depth of Austen's wisdom, especially in her understanding of the spiritual, psychological, and cultural complexities of morality.

As well as the full text of one of the richest and most intricately woven novels in the English language, this new critical edition contains many insightful critical essays by today's leading Austen experts.

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