The Willfully Misinterpretation of Female Speech in Austen's Novels never entirely repressed in Austen's fiction, [it] is dictated in such a way as to reflect or otherwise reassure male desire” (Johnson 37). However, sometimes women deviate from sexist speech rules and, by expressing their opinions, threaten male control over speech. In these situations, men resort to either deliberate misinterpretations or forced silence in order to bring women back under their verbal control. Mary Crawford and Elizabeth Bennet are two of Austen's most dynamic threats to male control over speech, but even the sweet and modest Fanny Price can become a threat by deviating from sexist rules of speech. When she refuses Henry's proposal, Sir Thomas is stunned, having "[expected] from Fanny [a] joyful disposition to let herself be guided?" His resistance implies an assumption of self-responsibility that challenges his authority” (Johnson 104). Say no to plagiarism. . Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Mary and Elizabeth are atypical of Austen's female characters in that their freedom of expression means that they do not need men to educate them or form their opinions. Other heroines, like Catherine Morland, get lost without a man to guide them. Without Henry Tilney to point out the natural beauty of Northanger Abbey, Catherine “should not know what was picturesque when she saw it” (NA 141). But Mary and Elizabeth are steadfast in forming their own opinions and then expressing them. They are aware and comfortable with their freedom of expression. Marie, confronted with Edmond's disapproval of his blatant speeches on morality and the Church, retorts: "I am a very concrete being, a being with clear language, and I can be wrong to the limits of a repartee for half an hour together without succeeding. outside” (MP 84). Mrs. Bennet attempts to reprimand Elizabeth for expressing her disapproval of Darcy, but Elizabeth refuses to be silent: "What is Mr. Darcy to me, pray, that I may be afraid of him, I am sure that we owe him no such particular civility. to the point of being obliged not to say anything that he does not like to hear” (PP 76). However, men find ways to force women like Mary and Elizabeth back into the frame of female discourse. One way men overcome the threat of verbal rebellion is to intentionally misinterpret what women say. This allows men to co-opt women's voices and transform them into modest and flexible companions. Although critic Claudia Johnson asserts that women retain "the right of refusal" despite other limitations on their words and actions (36), men can invalidate this right by simply refusing to accept it. The two most prominent examples of men infringing on women's rights include the marriage proposals of Mr. Collins and Henry Crawford. Collins insists on viewing Elizabeth's rejection as a kind of marital foreplay, and he rejects Elizabeth's rejection by asserting his deep understanding of the female sex. He explains Elizabeth's behavior as typical of those "young girls [who] reject the addresses of the man they secretly intend to accept, when he first solicits their favor" (PP 82). Collins believes that Elizabeth has no choice but to accept his proposal; she is, after all, at his mercy once her father diesand that the Bennet estate becomes his. Collins also argues about what he considers the quintessential female anxiety: that she will never be lucky enough to receive another marriage proposal. (Unfortunately, Charlotte Lucas proves the validity of this argument by marrying Collins because she considers this marriage the only alternative to singlehood.) With all this evidence, Collins says, "I must therefore conclude that you are not serious in your rejection for myself, I will choose to attribute it to your desire to increase my love through suspense, according to the usual practice of elegant women” (PP 83). Elizabeth's protests mean nothing because Collins cannot conceive of a woman who would act outside the rules of gendered speech. He interprets his words as a “mirror” reflecting back on him. his desire for marriage, and he projects his feelings onto Elizabeth. Henry Crawford accepts Fanny's refusal in the same vein, although he does not attribute her refusal to flirting but rather to an excess of modesty which prevents him from accepting her until he has applied. to Sir Thomas. Crawford then becomes a background figure while Sir Thomas attempts to convince Fanny that she, like Elizabeth, is simply playing the role of the loving and (unlike Elizabeth) modest woman by refusing Crawford: "I know he has spoken to you yesterday. , and (as far as I know), received as much encouragement to proceed as a well-judged young woman could afford to give" (MP 284). Sir Thomas acts on Crawford's interpretation of Fanny's refusal. Rather than accept the blow to his ego, Crawford projects his feelings onto Fanny in the same way that Collins does to Elizabeth, Fanny, he reasons, is embarrassed in her acceptance of his proposal only because she. has allowed his excessive modesty to override his true desires And even once Sir Thomas admits that Fanny has – or rather believes she has – reservations about marrying Crawford, he insists that she “[doesn't]. ] doesn't really know [his] own feelings” (MP 286, one gets the distinct feeling that what these men are doing is trying to show that men make better women than women – everything). as Henry Tilney does in displaying his knowledge of novels and fabrics – because only men can truly understand what women want. But often, men don't just intentionally misinterpret what women say; there is a “dependence of certain types of male discourse on female silence” (Johnson 112). Edmund is horrified by Mary Crawford's "blunt delicacy" (MP 416) and her almost masculine lack of restraint when it comes to sex and relationships. She has “no reluctance, no horror, no woman owes, I say, no modest hatred!” (MP 415). Mary's willingness to speak her mind is very similar to Elizabeth's, but Mary is punished with banishment from Mansfield Park, while Elizabeth is rewarded with Darcy's love. But Mansfield Park is the epitome of female imprisonment, where women's freedom of expression is restricted from childhood. Indeed, the education of the Bertram sisters consists of learning “[to repress] the whole flow of their minds before [Sir Thomas]” (MP 16). Elizabeth, although free to say whatever she wants in front of her father and Jane, still feels the pressure of forced silence towards her family. Her family's inane speech strays so far from acceptable speech that she grinds her teeth when Darcy converses with them. She knows how ridiculous her mother and sisters are and wants, if not their silence, at least a sensible conversation that will show her family worthy of Darcy's approval. Elizabeth wants their speech to conform to Darcy's aristocratic wishes, like any other speech that "reflects or otherwise reassures male desire" (Johnson 37), and she feels "consoled" when Darcy meets the Gardiners and realizes that "she had relationships for which there was no need to blush” (PP 193). But in an interesting twist, Elizabeth, in one of the freer moments with Darcy at the end of the novel, takes it upon herself to explain to Darcy why he fell in love with her. This situation is unique in that it is a moment where the woman reclaims the man's opportunity to speak and uses it to show her desires. Elizabeth's behavior in this situation is analogous to General Tilney's behavior towards Eleanor and Catherine. General Tilney orders Eleanor to “give [her] opinion, for ladies are best able to know the taste of ladies” (NA 139), then he himself begins to explain “ladies’ taste.” Elizabeth asks Darcy to explain his attraction to her and, without waiting for a detailed answer, explains it herself, ending with: “There, I have spared you the trouble of realizing it; and really, all things considered, I am beginning to find this perfectly reasonable” ( PP 291). Like Collins and Crawford, Elizabeth interprets Darcy's behavior to suit her needs. Darcy, however, manages to exert a certain kind of power in the conversation by correcting Elizabeth's assertion that he loved her "sassiness" (PP 291). Darcy calls it "the liveliness of [his] mind" (PP 291), and although it is only a minor difference, it is nonetheless notable as a moment of deliberate misunderstanding on Darcy's part . Darcy's correction makes Elizabeth more feminine. He changes his self-definition to coincide with the definition of acceptable feminine behavior, thereby putting a positive spin on behavior that some people, like the Bingley sisters, might object to. Darcy is one of the few Austen heroes who does not use speech to influence and change the woman he loves. (Another exception is Edward Ferrars, but he lacks Darcy's charisma; Marianne notes that "something is missing" [SS 14], and his character is so unequal to Elinor's that his power of change, if he has one, would be minimal.) Darcy disapproves of Elizabeth's family, but he does not disapprove of her personality, even if that includes her unladylike chatter. Edmund becomes disillusioned with Mary because he has been unable to change her, and his attraction to Fanny is a "look based on the most endearing assertions of innocence and helplessness, his mind being to a large extent formed by her dependent care and comfort.” on his kindness” (MP 429). Fanny's silence throughout the novel allows Edmund to give her speech something to his liking; he teaches her, in fact, what she, as a “modest” woman, can and cannot say. This master-student relationship is at the heart of the majority of Austen's relationships. Austen's novels show ambivalence towards the respective roles of men and women. While Elizabeth is the charismatic heroine of her story, Mary, who shares many of her traits, is an anti-heroine. Mary cannot compete with Fanny's model of feminine modesty and she must suffer for it. Despite Mary's plight, Johnson argues that women still have the opportunity to express themselves, even if they risk being reduced to a "mirror" to reaffirm both their subordination and the masculinity of the men to whom they speak. address (37). According to Johnson, even when their ability to speak is impaired, women still have the right to refuse (36). However, Mr. Collins and Henry Crawford make (unsuccessful) attempts to deny Elizabeth and Fanny even this right. Circumstances save Elizabeth and Fanny from the two men,., 1990.

Essay / The Willfully Misinterpretation of Female Speech in Austen's Novels never entirely repressed in Austen's fiction, [it] is dictated in such a way as to reflect or otherwise reassure male desire” (Johnson 37). However, sometimes women deviate from sexist speech rules and, by expressing their opinions, threaten male control over speech. In these situations, men resort to either deliberate misinterpretations or forced silence in order to bring women back under their verbal control. Mary Crawford and Elizabeth Bennet are two of Austen's most dynamic threats to male control over speech, but even the sweet and modest Fanny Price can become a threat by deviating from sexist rules of speech. When she refuses Henry's proposal, Sir Thomas is stunned, having "[expected] from Fanny [a] joyful disposition to let herself be guided?" His resistance implies an assumption of self-responsibility that challenges his authority” (Johnson 104). Say no to plagiarism. . Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Mary and Elizabeth are atypical of Austen's female characters in that their freedom of expression means that they do not need men to educate them or form their opinions. Other heroines, like Catherine Morland, get lost without a man to guide them. Without Henry Tilney to point out the natural beauty of Northanger Abbey, Catherine “should not know what was picturesque when she saw it” (NA 141). But Mary and Elizabeth are steadfast in forming their own opinions and then expressing them. They are aware and comfortable with their freedom of expression. Marie, confronted with Edmond's disapproval of his blatant speeches on morality and the Church, retorts: "I am a very concrete being, a being with clear language, and I can be wrong to the limits of a repartee for half an hour together without succeeding. outside” (MP 84). Mrs. Bennet attempts to reprimand Elizabeth for expressing her disapproval of Darcy, but Elizabeth refuses to be silent: "What is Mr. Darcy to me, pray, that I may be afraid of him, I am sure that we owe him no such particular civility. to the point of being obliged not to say anything that he does not like to hear” (PP 76). However, men find ways to force women like Mary and Elizabeth back into the frame of female discourse. One way men overcome the threat of verbal rebellion is to intentionally misinterpret what women say. This allows men to co-opt women's voices and transform them into modest and flexible companions. Although critic Claudia Johnson asserts that women retain "the right of refusal" despite other limitations on their words and actions (36), men can invalidate this right by simply refusing to accept it. The two most prominent examples of men infringing on women's rights include the marriage proposals of Mr. Collins and Henry Crawford. Collins insists on viewing Elizabeth's rejection as a kind of marital foreplay, and he rejects Elizabeth's rejection by asserting his deep understanding of the female sex. He explains Elizabeth's behavior as typical of those "young girls [who] reject the addresses of the man they secretly intend to accept, when he first solicits their favor" (PP 82). Collins believes that Elizabeth has no choice but to accept his proposal; she is, after all, at his mercy once her father diesand that the Bennet estate becomes his. Collins also argues about what he considers the quintessential female anxiety: that she will never be lucky enough to receive another marriage proposal. (Unfortunately, Charlotte Lucas proves the validity of this argument by marrying Collins because she considers this marriage the only alternative to singlehood.) With all this evidence, Collins says, "I must therefore conclude that you are not serious in your rejection for myself, I will choose to attribute it to your desire to increase my love through suspense, according to the usual practice of elegant women” (PP 83). Elizabeth's protests mean nothing because Collins cannot conceive of a woman who would act outside the rules of gendered speech. He interprets his words as a “mirror” reflecting back on him. his desire for marriage, and he projects his feelings onto Elizabeth. Henry Crawford accepts Fanny's refusal in the same vein, although he does not attribute her refusal to flirting but rather to an excess of modesty which prevents him from accepting her until he has applied. to Sir Thomas. Crawford then becomes a background figure while Sir Thomas attempts to convince Fanny that she, like Elizabeth, is simply playing the role of the loving and (unlike Elizabeth) modest woman by refusing Crawford: "I know he has spoken to you yesterday. , and (as far as I know), received as much encouragement to proceed as a well-judged young woman could afford to give" (MP 284). Sir Thomas acts on Crawford's interpretation of Fanny's refusal. Rather than accept the blow to his ego, Crawford projects his feelings onto Fanny in the same way that Collins does to Elizabeth, Fanny, he reasons, is embarrassed in her acceptance of his proposal only because she. has allowed his excessive modesty to override his true desires And even once Sir Thomas admits that Fanny has – or rather believes she has – reservations about marrying Crawford, he insists that she “[doesn't]. ] doesn't really know [his] own feelings” (MP 286, one gets the distinct feeling that what these men are doing is trying to show that men make better women than women – everything). as Henry Tilney does in displaying his knowledge of novels and fabrics – because only men can truly understand what women want. But often, men don't just intentionally misinterpret what women say; there is a “dependence of certain types of male discourse on female silence” (Johnson 112). Edmund is horrified by Mary Crawford's "blunt delicacy" (MP 416) and her almost masculine lack of restraint when it comes to sex and relationships. She has “no reluctance, no horror, no woman owes, I say, no modest hatred!” (MP 415). Mary's willingness to speak her mind is very similar to Elizabeth's, but Mary is punished with banishment from Mansfield Park, while Elizabeth is rewarded with Darcy's love. But Mansfield Park is the epitome of female imprisonment, where women's freedom of expression is restricted from childhood. Indeed, the education of the Bertram sisters consists of learning “[to repress] the whole flow of their minds before [Sir Thomas]” (MP 16). Elizabeth, although free to say whatever she wants in front of her father and Jane, still feels the pressure of forced silence towards her family. Her family's inane speech strays so far from acceptable speech that she grinds her teeth when Darcy converses with them. She knows how ridiculous her mother and sisters are and wants, if not their silence, at least a sensible conversation that will show her family worthy of Darcy's approval. Elizabeth wants their speech to conform to Darcy's aristocratic wishes, like any other speech that "reflects or otherwise reassures male desire" (Johnson 37), and she feels "consoled" when Darcy meets the Gardiners and realizes that "she had relationships for which there was no need to blush” (PP 193). But in an interesting twist, Elizabeth, in one of the freer moments with Darcy at the end of the novel, takes it upon herself to explain to Darcy why he fell in love with her. This situation is unique in that it is a moment where the woman reclaims the man's opportunity to speak and uses it to show her desires. Elizabeth's behavior in this situation is analogous to General Tilney's behavior towards Eleanor and Catherine. General Tilney orders Eleanor to “give [her] opinion, for ladies are best able to know the taste of ladies” (NA 139), then he himself begins to explain “ladies’ taste.” Elizabeth asks Darcy to explain his attraction to her and, without waiting for a detailed answer, explains it herself, ending with: “There, I have spared you the trouble of realizing it; and really, all things considered, I am beginning to find this perfectly reasonable” ( PP 291). Like Collins and Crawford, Elizabeth interprets Darcy's behavior to suit her needs. Darcy, however, manages to exert a certain kind of power in the conversation by correcting Elizabeth's assertion that he loved her "sassiness" (PP 291). Darcy calls it "the liveliness of [his] mind" (PP 291), and although it is only a minor difference, it is nonetheless notable as a moment of deliberate misunderstanding on Darcy's part . Darcy's correction makes Elizabeth more feminine. He changes his self-definition to coincide with the definition of acceptable feminine behavior, thereby putting a positive spin on behavior that some people, like the Bingley sisters, might object to. Darcy is one of the few Austen heroes who does not use speech to influence and change the woman he loves. (Another exception is Edward Ferrars, but he lacks Darcy's charisma; Marianne notes that "something is missing" [SS 14], and his character is so unequal to Elinor's that his power of change, if he has one, would be minimal.) Darcy disapproves of Elizabeth's family, but he does not disapprove of her personality, even if that includes her unladylike chatter. Edmund becomes disillusioned with Mary because he has been unable to change her, and his attraction to Fanny is a "look based on the most endearing assertions of innocence and helplessness, his mind being to a large extent formed by her dependent care and comfort.” on his kindness” (MP 429). Fanny's silence throughout the novel allows Edmund to give her speech something to his liking; he teaches her, in fact, what she, as a “modest” woman, can and cannot say. This master-student relationship is at the heart of the majority of Austen's relationships. Austen's novels show ambivalence towards the respective roles of men and women. While Elizabeth is the charismatic heroine of her story, Mary, who shares many of her traits, is an anti-heroine. Mary cannot compete with Fanny's model of feminine modesty and she must suffer for it. Despite Mary's plight, Johnson argues that women still have the opportunity to express themselves, even if they risk being reduced to a "mirror" to reaffirm both their subordination and the masculinity of the men to whom they speak. address (37). According to Johnson, even when their ability to speak is impaired, women still have the right to refuse (36). However, Mr. Collins and Henry Crawford make (unsuccessful) attempts to deny Elizabeth and Fanny even this right. Circumstances save Elizabeth and Fanny from the two men,., 1990.

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