Jane Austen’s ‘Mansfield Park’: A Quiet Heroism

Fanny Price (Frances O’Connor) observes the goings on, in “Mansfield Park.” Miramax Films

Not many female literary protagonists come to mind as likely to inspire university debates over their merit as heroines. Fanny Price, the heroine of Jane Austen’s “Mansfield Park,” seems the least likely candidate to inspire controversy. Yet during my time in college, I attended a debate between two English professors regarding Fanny Price. At the end, students were asked to vote on whether or not Fanny was a worthy heroine. The room was pretty evenly divided, with Fanny just barely squeaking out a victory.

Title page of “Mansfield Park,” 1814, by Jane Austen. Indiana University. Public Domain

What is it about the timid, seemingly unobjectionable character that makes her so controversial? Austen herself seemed to expect such a reception more for Emma Woodhouse of Austen’s “Emma.” This was a character about whom she said, “No one but myself would much like.” Instead, Emma went on to become almost universally beloved in spite of her mistakes. Fanny, on the other hand, is faulted for not making enough of them.

A Passive Heroine?

One of the most common objections to Fanny is that she seems too passive to be a true heroine. Others drive the novel’s action while Fanny most often observes quietly from the outside or isn’t present at all. While Austen’s other heroines (with the exception of Elizabeth Bennet of “Pride and Prejudice”) go through a process of disillusionment and conversion of heart, Fanny remains steadfast in her convictions. In fact, she often seems the eye of the storm or the still point in a turning world.

To the modern reader in particular, it may seem appalling that Fanny never stands up for herself, particularly to her Aunt Norris. Taken in by the Bertrams when she is 10 years old, Fanny arrives at Mansfield Park from Portsmouth frightened and inconsolable. The family’s wishes for her improvement are modest: The faults that Sir Thomas Bertram expects to cure her of are ignorance, vulgarity of manner, and meanness of opinions. Mrs. Norris’s priority is to ensure that Fanny is “sensible of her uncommon good fortune” in coming to Mansfield, such that Fanny is always conscious of her inferiority to her cousins Maria and Julia.

The young Fanny and the "well meant condescensions of Sir Thomas Bertram" on her arrival at Mansfield Park. A 1903 edition, illustrated by C.E. Brock. Public Domain

Edmund, the second eldest of the Bertram children, is the only one to draw Fanny out of herself and to comfort her in her fear and sorrow at leaving her home. The difference in his conduct from that of the rest of the family is evident in his persistent questioning when he finds Fanny in tears shortly after her arrival. In so doing, he tries to learn what pains her and persuade her to speak openly.

Edmund

From then on, it’s Edmund who fosters in her a love for literature and learning. The narrator’s repeated use of the word “encouragement” is telling in that Edmund’s mentorship style reflects the Latin origin of the word “educate” (“educere,” meaning to draw out, to lead, or to nourish).  He helps Fanny become more fully herself and, to some extent, overcome her diffidence.

Edmund (Jonny Lee Miller) sees the quality of character in Fanny (Frances O’Connor), in “Mansfield Park.” Miramax Films

In this way, by the time the novel jumps forward to when Fanny is 18 in Chapter 4, she has already overcome the faults that the rest of the family wanted her to overcome, namely her ignorance and unrefined manners. She still needs to overcome that fault which Edmund finds in her: “He was always … trying to make her good qualities understood, and to conquer the diffidence which prevented their being more apparent; giving her advice, consolation, and encouragement.”

Until the visit of Mary and Henry Crawford at Mansfield Park, Fanny’s convictions remain untested. Among the Bertrams, she is more often overlooked than opposed. Over the course of the novel, the Crawfords’ various attempts to sway her from what she believes to be right affords Fanny the opportunity for quiet heroism. Rather than alter her viewpoints, she is required to remain steadfast in them. If Austen’s other heroines must adjust their positions, Fanny is asked to fortify her own. Instead of a sudden and dramatic conversion, she must grow in strength.

When the Crawfords and Bertrams decide to stage the play “Lovers’ Vows” at Mansfield during Sir Thomas’s absence, Edmund and Fanny are the only ones who refuse to participate. They say that Sir Thomas wouldn’t approve, and that the play would be a source of impropriety. Fanny’s refusal to act in the play is the first instance of strong action on her part. Ironically, by not acting, she moves away from her typical passivity. She resists the entreaties of the others in what seems uncharacteristic for one so willing to serve.

Mary Crawford (Embeth Davidtz, L) wants Fanny (Frances O’Connor) to be in a play, in “Mansfield Park.” Miramax Films

Well-Formed Judgment

Because she so often does not participate in the goings on around her, she adds observation to her already well-formed judgment. In fact, she’s the character with the most perceptive insight in the novel. Even Edmund allows himself to be deceived with regard to Mary Crawford’s character. After Fanny observes Henry Crawford’s shallow, selfish behavior earlier in the novel as he toys with Maria and Julia’s affections, she rejects his marriage proposal and views his newfound desire for virtue with skepticism. As she tells Mary: “I was quiet, but I was not blind. I could not but see that Mr. Crawford allowed himself in gallantries which did mean nothing.”

Her assurance of her own right judgment enables her to stand her ground even to Sir Thomas, the character who most intimidates her, when he tries to persuade her to marry Henry. She’s accused of willfulness and selfishness for her rejection of Henry. Fanny patiently endures the attacks on her character and is steadfast in her decision, while refusing to malign Henry’s character.

Henry Crawford (Alessandro Nivola) and Fanny Price (Frances O’Connor), in “Mansfield Park.” Miramax Films

One of the greatest confirmations of her growing strength is when she refuses to advise Henry when he asks her whether he ought to return to Norfolk to manage his estate. Fanny tells him that he already knows his responsibilities: “We all have a better guide in ourselves, if we would attend to it, than any other person can be.” In saying this, Fanny shows that her experience over the course of the novel has instilled greater confidence in her own judgment.

Portsmouth Family

Fanny’s trip back to Portsmouth to visit her parents and siblings after so many years constitutes the final development of her character. There, she becomes even more fully herself. She realizes that “so long divided, so differently situated, the ties of blood were little more than nothing.” Her excitement to see her family far outweighs theirs at seeing her.

Fanny Price (Frances O’Connor, C) and her family in Portsmouth, in “Mansfield Park.” Miramax Films

Fanny approaches the visit as an opportunity to dull her feelings for Edmund and put Mansfield out of her mind. She soon realizes that Portsmouth made an impression on her all the more keenly as she observes the contrast in manners, hospitality, and family dynamics with Mansfield. “She could think of nothing but Mansfield, its beloved inmates, its happy ways. Every thing where she now was, was in full contrast to it. The elegance, propriety, regularity, harmony—and perhaps, above all, the peace and tranquility of Mansfield, were brought to her remembrance every hour of the day, by the prevalence of every thing opposite to them here.”

The visit deepens Fanny’s understanding of herself as properly belonging to Mansfield. The place and people who had already been so beloved become even more so to her.

Fanny, led by Henry Crawford at her celebration ball, from the 1903 edition, illustrated by C.E. Brock. Public Domain

Humility and Gratitude

Aunt Norris and the Bertrams treat her badly and lead her to think less of herself than she is. However, because of these virtues, she’s still a perfect foil to her selfish cousins Maria and Julia.

After marrying Edmund, Fanny becomes the ideal daughter for Sir Thomas, who learns to understand her and rightly estimate her virtues. She comes to embody the beatitude that states that the meek shall inherit the land. It proves true, as she and Edmund eventually move into the parsonage at Mansfield.

Edmund (Jonny Lee Miller) and Fanny (Frances O’Connor) settle into the parsonage, in “Mansfield Park.” Miramax Films

Fanny’s defining characteristic as a heroine is her consistent excellence of character. Her steadfastness is what merits her the title of heroine. Although everything and everyone around her at times seem to be moving in the wrong direction, she remains where she ought to be.

Fanny’s adherence to what is right only grows in intensity throughout the novel rather than changing direction. While meekness is often misunderstood as feebleness of character, the reader is offered the chance not to overlook Fanny as so many of the other characters do. The reader can see in her a quiet tenacity that refuses to relinquish what she loves and what she knows to be right.

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