If ever Jane Austen set out to depict the moralistic gulf between Regency society and pre-Victorian property, she did so with Mansfield Park. To achieve this, his characters divide themselves between these divergent ideologies. The majority succumb to their unscrupulous fantasies while the faithful few are governed by their sense of duty. This distinction is as acute as it is unwelcome, as the plot revolves around characters striving to convert each other. Henry Crawford, a wealthy and friendly gentleman, made this pastime his main entertainment. As for his methodology, it is difficult to distinguish where theater ends and reality begins. Because Crawford is a standout actor with magnificent charisma, it's difficult to discern his sincerity and push away his charms. Austen uses the person of Crawford to demonstrate that authenticity determines where conviction is felt and where principles are honored. As such, he embodies one of Austen's greatest challenges to her readers, who find themselves faced with a moral predicament: whether this very lovable actor should be acclaimed or reprimanded. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Henry Crawford is something of an anomaly as a dashing rogue, for the first description of his looks is that he was “not handsome, but had looks and countenance; manners both lively and pleasant. (35). He is further described by his sister Mary as "the most horrible flirt imaginable" (36) and has a gaggle of admirers who are "dying" to marry him. Despite their best efforts to “reason, cajole, or trick him into marrying” (36), however, he cannot be persuaded to give up his freedom as a bachelor. As we are told, “Henry Crawford had, unfortunately, a great aversion to anything that resembled the permanence of home or the limitation of society.” (35). This is very crucial information in establishing his character because it shows that he will escape the bonds of marriage as long as his youthful autonomy is fun enough. In other words, the moment he finds himself incapable of courting a woman, who must have a strong moral character if she is capable of resisting him, is the moment when he is most likely to believe himself in love. He is a conquistador of challenges, not honest courtship, and as such he does not have enough compassion to feel any conviction for his actions. Besides this vibrant independence, Crawford's next greatest character trait is determination. Whatever he aims for must be achieved at all costs, and this is where his skills as a performer become his most valuable asset. He exercises this talent with the commitment of a mother to her beloved child and the eagerness of a playful puppy. He also takes great care to spend his time in a rewarding manner, so as to never lack the gentleman's “healthy alloy of labor” (204). “Recreation and gluttony” are good, but as he himself says “…I don’t like to eat the bread of idleness”. (204). Just as true, he hates drinking the wine of reprieve, because he's not at Mansfield Park for a week before he launches into Miss Bertram's love affair. The pinnacle of his pursuit is when he is assured that both their hearts are held in his hands, and we see that his devotion wanes as soon as his vanity is satiated. Thus, his attentions are superficial and selfish, and not at all as they seem to his hopeful admirers. It was during his first acquaintance with the Bertram family that Crawford made his acting debut. Even if he is not inclined towards marriage, hisaffable facade gives the impression of wanting to engage in the ladies' most permanent affections. His real intentions emerge perfectly from the story: “He did not want them to die of love; but with a sense and character which should have made him judge and feel better, he allowed himself great latitude on such points. » (37). Here Austen begins her illustration of the desirability of exercising conviction. The reader knows that Crawford possesses good judgment, but his moral failure lies in his inability to view the exercise of that judgment as his duty. His claims as a performer jeopardize his integrity because he views them as inconsequential, and perhaps even shared by others. For him, “the whole world is a stage, and all the men and women are only actors.” With this mentality, he cares nothing for the sincere feelings of others, who can only watch him waltz around Mansfield Park like the greatest tempter since the Serpent of Eden. Crawford's true duplicity as an actor becomes even clearer with the Sotherton episode. The Bertrams and Crawfords went to visit Mr. Rushworth's large estate at Sotherton. By this time, Maria Bertram is almost formally engaged to Mr. Rushworth, an awkward and boring gentleman. However, it is Crawford who attracts his affection and he is well aware of his influence. Despite the indecency of his behavior, he continues to lure Maria even into the chapel, where he takes the intimate privilege of whispering: "I don't like seeing Miss Bertram so close to the altar." (79) His romantic insinuations are reinforced by the “look of meaning” that follows his speech. (79) Later, he persuades her to continue their walk alone by sneaking past a locked door. As inappropriate as it may seem, the incentive is too great for Maria when he sardonically remarks: "And for nothing in the world you would go out without the key and without the authority and protection of Mr. Rushworth, or I think that you could easily get around the edge of the door here with my help; I think it could be done, if you really wanted to be more free, and if you could allow yourself to think that it is not forbidden. (88).If this casual speech were addressed to a sister or friend, there would be no implications to consider. What Austen wants her audience to understand, however, is the underlying promotion of indecorum. As Ian Littlewood says of this event (and also of acting in general), its property "is about what they mean here, to this group of characters in this particular context...[it] represents a attempt to circumvent the permissible limits of expression, to find a way to do what you shouldn't do or what you shouldn't say. The fact that Crawford initiated this misbehavior as an unconcerned contender is proof of his good performance. Furthermore, it demonstrates how his initial plans for knowledge, where the Miss Bertrams would only love him, give way to his own superficial principles and indelicacy. The theatrical interlude at Mansfield Park also amplifies Crawford's theatricality. Having lived in London and been exposed to more of this type of entertainment, he really has the best idea of ​​a good stage presence. He is also the most remarkable actor in the private troupe. However, he lacks the ability to act as both a lover and another character, and Julia Bertram sees through his pretentiousness. Realizing that he presents himself to her as a fraudulent suitor, he strives to restore their coquetry "by the usual attack of gallantry and compliments." (143). When his timid attempts fail, he gives up.