Editor's note.LOOKED AT FROM ONE PERSPECTIVE, Fanny Price is confined to a relatively static existence. Compared to a heroine like Elizabeth Bennet Elizabeth Bennet (sometimes referred to as Eliza or Lizzy) is a fictional character and the protagonist of Jane Austen's novel Pride and Prejudice. The novel is centered on her attempts to find love and happiness within the society she lives in, particularly , who travels to London, to Kent, to Derbyshire, and later leaves her home in Hertfordshire for good, Fanny is restricted to a small ambit. Once she arrives at Mansfield Park Mansfield Park may mean:
2. Wills and devises are sometimes set aside in consequence of the importunity of those who have procured them. . When later in the novel she journeys to Portsmouth, that trip is less exploration than exile. During Fanny's years in Northamptonshire, her movements are restricted. She takes short rides, attended by the old coachman; she walks to and from the White house at the behest of Mrs. Norris; she attends church to hear Dr. Grant's "'very good sermons.'" Except on the (probably infrequent) occasions when she accompanies Lady Bertram to dinner at the parsonage, not until Mrs. Grant is moved by the absence of Maria and Julia to invite Fanny to dinner does she dine out Verb 1. dine out - eat at a restaurant or at somebody else's home
eat - eat a meal; take a meal; "We did not eat until 10 P.M. because there were so many phone calls"; "I didn't eat yet, so I gladly accept your invitation" on her own. For most of the novel, we see her at Mansfield Park, and much of that time within one of a handful of rooms.
What could be read as limitation, however, can from another perspective be felt as focus, as concentration, as transcendence. Fanny remarks to Miss Crawford that "'especially when I am sitting out of doors, I am very apt to get into this sort of wondering strain'" (my italics). In the East room, in particular, through the aid of her books, her memory, her imagination, Fanny's mind wanders. It's always seemed to me significant that among the transparencies on the windows of the East Room is a representation of Tintern Abbey Tintern Abbey, ruins of an abbey, Monmouthshire, W. England, near Chepstow. It was founded for Cistercians in 1131 by Walter de Clare and now consists mainly of 13th- and 14-century English work. It is the subject of a poem by Wordsworth. . Certainly, that ruin was a favorite spot for picturesque travelers, among them Gilpin, J. M. W. Turner Joseph Mallord William Turner (23 April 1775 – 19 December 1851) was an English Romantic landscape painter, watercolourist and printmaker, whose style can be said to have laid the foundation for Impressionism. , and of course William Wordsworth. Wordsworth's 1798 "Lines written a few miles above Tintern Abbey" was the climactic poem of Lyrical Ballads (published in 1798, expanded to two volumes in 1800, and revised again in 1802). It's a poem about landscape and memory, about "what [we] half create, and what perceive," about loss and "abundant recompense RECOMPENSE. A reward for services; remuneration for goods or other property.
2. In maritime law there is a distinction between recompense and restitution. (q.v. ," a poem in which the poet finds that compensation not only in nature, in feeling "a motion and a spirit" that "rolls through all things," but in his love for his sister, whom he guides. And it's tempting to imagine that Wordsworth's poem must certainly have been, as Edmund suggests of another text for another reader, "'a favourite'" with Fanny. In Wordsworth's benediction benediction [Lat.,=blessing], solemn blessing usually administered in the name of God by a priest or a minister. The temple worship at Jerusalem had fixed forms of benedictions, and Christians have always given them an important place in ceremony, especially at the on his sister Dorothy, he looks to a time when her mind "[s]hall be a mansion for all lovely forms, / Thy memory be as a dwelling place / For all sweet sounds and harmonies." This redefinition of spaciousness from the external to the internal landscape suggests the power of Fanny's best self.
I invoke Wordsworth's poem not only because its language and images seem to pervade per·vade
tr.v. per·vad·ed, per·vad·ing, per·vades
To be present throughout; permeate. See Synonyms at charge.
[Latin perv Mansfield Park but because its particular situation--looking back and looking forward--seems to evoke the moment of this issue of Persuasions. The Jane Austen Society of North America looks back with gratitude on Joan Klingel Ray's six years of invigorating in·vig·or·ate
tr.v. in·vig·or·at·ed, in·vig·or·at·ing, in·vig·or·ates
To impart vigor, strength, or vitality to; animate: "A few whiffs of the raw, strong scent of phlox invigorated her" leadership and forward with expectation to what the energies of new president Marsha Huff will inspire. Laurie Kaplan, responsible for the beautiful redesign of Persuasions and editor since 1998, has moved on to other projects though she remains a guiding force behind this journal.
Wordsworth's poem, like Jane Austen's novel, also celebrates relationship, community. Persuasions brings together a community of voices, a community of readers engaged in discovery, connecting through disparate approaches, points of view, perceptions. The first section of this issue selects from the very exciting program put together by Iris Lutz and Bobble bob·ble
v. bob·bled, bob·bling, bob·bles
To bob up and down.
To lose one's grip on (a ball, for example) momentarily.
A mistake or blunder. Gay for this year's AGM AGM annual general meeting
AGM n abbr (= annual general meeting) → AG f
AGM n abbr (= annual general meeting) → JHV f in Tucson: "Fresh Perspectives on Mansfield Park." Essays explore the characters' psychology and family relationships, the music and sounds of Mansfield Park and the meaning of Mary Crawford's harp; some place Mansfield Park in the context of other novels, writers, or genres; still others consider what we can understand about film versions of Austen's novels and what those versions can help us understand about the novels themselves. All the essays are ways of understanding what we might make of Jane Austen's most problematic novel and what we simultaneously come to understand about ourselves as readers.
The Miscellany, a smaller though equally diverse group, ranges from birthdays to bathwater, dancing through the subject of Jane Austen's artistry and engaging her legacy to the novelist Patrick O'Brian.
Throughout this journal we move with Austen and with readers of Austen from the mundane to the sublime, from the external to the internal and back again, gazing together, as Maggie Lane puts it, into the marvels of creation.