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Nobody Puts Fanny in the Corner
Transcript of Nobody Puts Fanny in the Corner
In typical versions of these dramatic forms, the actor or [her] symbolic representation is detached from a prior condition of membership in the social structure, undergoes a transitional ordeal in which [her] structural attributes are neutralized or made ambiguous, and then reemerges into social structure, usually with enhanced functions, status or class. (183)
Sarah Gilead defines the definition of liminality in literature in her essay “Liminality, Anti-Liminality, and the Victoria Novel":
What Does Fanny Gain?
She is described as being, “small of her age, with no glow of complexion, not any other striking beauty; exceedingly timid and shy, and shrinking from notice” (Austen 8)
The gate is a literal and figurative symbol of Fanny’s separation stage: keeping her immature, silent self out of the mature and noisy world. This scene signifies Fanny’s youthful ignorance at Mansfield Park.”
Powerless, Passivity, Humility
At Mansfield Park Fanny is, “Temporarily freed from role playing structural boundaries and bereft of group privileges and attributes, the typical condition of the passenger is that of passivity, powerlessness, humility” (Gilead 183).
“Though she does exert her voice and opinion she has not yet gained full autonomy of herself. Fanny denies her “woman’s duty”, that Lady Bertram exclaims: “It is every young woman’s duty to accept such a very unexceptional offer as this” (Austen 255).
Her refusal makes Sir Thomas think of her decision making as sickly, “it was a medicinal project upon his niece’s understanding which he must consider as at present diseased” and he sends her away thinking, “a little abstinence from the elegancies and luxuries of Mansfield Park would bring her mind into a sober state” (Austen 284).