proceed makes the role of their uncle and aunt essential in the book, but also natural.
Austen feels free, on the other hand, to make Lady Catherine de Bourgh imperious and comic, her wealth and power serving to make her ridiculous rather than impressive. She is an aunt who does not prevail; her presence in the book succeeds in making Darcy her nephew more individual, more himself and less part of any system. His aunt’s function is not merely then to amuse us, or to show us an aspect of English manners that Jane Austen thought was foolish, but to allow her nephew, who refuses to obey her, a sort of freedom, a way of standing alone, that will make him worthy of Elizabeth and worthy too of the novel’s moral shape. Its suggestion that only those who are prepared to move outside their family’s arena of influence, to move out of the sphere of blood and inheritance as the centre of control, towards the autonomous and the personal, will become important in other areas of English life as the nineteenth century proceeds.
Austen understood, however, the strange dynamic of an extended family and how much could be made fluid and uncertain, detached and semi-detached, within its boundaries. Within their family, both Jane Austen and her sister Cassandra, as Marilyn Butler has pointed out in ‘Jane Austen and the War of Ideas’, ‘played a key role as travellers between the households [of their brothers] and assiduous correspondents… Jane somewhat closer to and more preoccupied with two of her younger brothers — Henry, said to have been her favourite, who lived in London, and the sailor Frank, who reported to her from various war fronts… The sisters made good aunts and friends to the next generation.’
Since two of her brothers, Frank and Charles, went to sea and were away from home for long periods of time, it is easy to see the intensely tender and constant feelings that Fanny Price in
Since the opening of the novel has all the bearings of a fairy tale, it must have been tempting for Austen to make Lady Bertram, the aunt in whose house Fanny will live, an evil ogre and make Mrs Norris, the aunt who lives nearby, into the kind and watchful aunt. Or make them both ogres. What she decided to do was to hand all the badness to Mrs Norris. It is Mrs Norris who emphasizes Fanny’s precarious position as someone who is inside the family enough to be given shelter but outside it enough to be regularly insulted. When Fanny refuses to take part in the play-acting, for example, her Aunt Norris emphasizes her isolation and vulnerability: ‘I shall think her a very obstinate girl, if she does not do what her aunt and cousins wish her — very ungrateful indeed, considering who and what she is.’
The reader is thus free to dislike Mrs Norris for her cruelty and to admire Fanny for her forbearance. Austen’s biographer Claire Tomalin sees Mrs Norris as ‘one of the great villains of literature’; the critic Tony Tanner as ‘one of Jane Austen’s most impressive characters and indeed one of the most plausibly odious characters in fiction’. All this is clear, at times rather too clear. What is not clear is what the reader should feel about the other aunt, Lady Bertram, the mistress of Mansfield Park. Tomalin dislikes her: ‘Fanny’s experience at Mansfield Park is bitter as no other childhood is in Austen’s work. Her aunt, Lady Bertram, is virtually an imbecile; she may be a comic character and not ill-tempered, but the effects of her extreme placidity are not comic.’ Tanner takes a similar view:
Lady Bertram is a travesty of those values [of quietness and repose]. She is utterly inert, unaware, and entirely incapable of volition, effort or independent judgement. She is of course an immensely amusing character; but she also reveals the Mansfield values run to seed. In effect, she never thinks, moves, or cares: amiable enough in that she is not malicious, she is, in her insentient indolence, useless as a guardian of Mansfield Park and positively culpable as a parent. And it is her sofa-bound inertia which permits the ascendancy of Mrs Norris. Lady Bertram does not represent quietness and repose so much as indifference and collapse.
In his essay on
It is possible to argue, on the other hand, that Lady Bertram, rather than being merely a piece of self- mockery, is one of Austen’s most subtle, restrained and ingenious creations. This probably requires a different attitude to the novel than that displayed by Tomalin and Tanner, or indeed Trilling. The novel is not a moral fable or a tale from the Bible, or an exploration of the individual’s role in society; it is not our job to like or dislike characters in fiction, or make judgements on their worth, or learn from them how to live. We can do that with real people and, if we like, figures from history. They are for moralists to feast on. A novel is a pattern and it is our job to relish and see clearly its textures and its tones, to notice how the textures were woven and the tones put into place. This is not to insist that a character in fiction is merely a verbal construct and bears no relation to the known world. It is rather to suggest that the role of a character in a novel must be judged not as we would judge a person. Instead, we must look for density, for weight and strength within the pattern, for ways in which figures in novels have more than one easy characteristic, one simple affect. A novel is a set of strategies, closer to something in mathematics or quantum physics than something in ethics or sociology. It is a release of certain energies and a dramatization of how these energies might be controlled, given shape.
Lady Bertram in
It would really make sense to kill Lady Bertram, or to have her not there, allow her to be one of those unmentioned mothers in fiction, an unpalpable absence. But in that case, there will be no real impulse for Fanny to join her household rather than that of Aunt Norris and Fanny will miss daily contact with Edmund, who notices her and then doesn’t, thus releasing important dramatic energy in the book.
In patterning the book, in creating its dynamic and its dramatics, Austen has to have Lady Bertram there as a mother and not there all at the same time; she has to give her characteristics that are essentially neutral. She might have been easily amusing or irritating or silly like Mrs Bennet in
Thus Austen has the ingenious idea of making the sofa, rather than the household, the realm over which Lady Bertram reigns, and making sleep, or half-sleep, her dynamic. She is too sleepy to care. When her husband is leaving for the West Indies, Austen writes: ‘Lady Bertram did not like at all to have her husband leave her; but she was not disturbed by any alarm for his safety, or solicitude for his comfort, being one of those persons who think nothing can be dangerous, or difficult, or fatiguing to anyone but themselves.’ While she thinks about her own comfort, she does not dwell too much on the subject. It defines what she does not do rather than any of her actions. She hardly has any actions. Austen writes: ‘Lady Bertram did not go into public with her daughters. She was too indolent even to accept a mother’s gratification in witnessing their success and enjoyment at the expense of any personal trouble…’ What Lady Bertram does in the book most of the time is not merely ignore others, but effectively ignore herself; she lives a gloriously underexamined life, so placing her in precisely the opposite force