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Jane Austens Pride and Prejudice, Persuasion, and Mansfield Park all incorporate the
traditional marriage plot, but before these narratives can come to fruition, a few female
characters who have stooped to folly must die. Unlike Mrs. Churchill who is carriedoff
after a short struggle (Emma 363), the women do not experience a literal annihilation but rather
suffer a devastating outcome. The death of a fallen woman is a literary tradition often seen in
sentimental literature, in which a seduced and abandoned woman ultimately succumbs to her
sadness and pops off as Tom Bertram states in Mansfield Park. Whether through suicide,
illness, or simply pining away, the death is seen as a clearer of ill-fame (Emma 363) and the
only manner in which a woman may be absolved. Although classified as sentimental novels, Jane
Austens works are almost devoid of literal depictions of death. Many of the passings, such as
Mrs. Churchills, are referenced through gossip and never physically witnessed. While Austen
appears to avoid the literary standard of killing scandalized women as a means of circumventing
traditional assumptions, I assert that Austen adheres to the tradition by symbolically killing her
The fallen woman can trace her lineage as an archetype to the biblical story of Adam and
Eve. According to Kelly Marie Clifton, the story of the temptation and the fall of man is, in
reality, the story of the fall of women (9). Eves banishment from Eden is perpetuated by male
authors as punishment for her sins against God and her husband (Clifton 9), and even Miltons
complex, reimagining of Eve shoulders the blame of humanitys damnation and is reduced to
subservience. She is Defaced, deflowered, and as all fallen women must to death devote
(Milton 9.900 9.01). Jane Austens society embraces the fallen woman figure and, in doing so,
holds females to more rigid standards, imposing a strict dichotomy on femininity. The women of
the Victorian age, as well as Jane Austens era [occupy] a position of duality within the culture
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where they [are] defined as either Madonna or Magdalene, pure or impure (Abbasi 91). Women
who exist outside of this sphere, including prostitutes and single women with sexual experience
are cast out from society and labelled as fallen women. While authors such as Elizabeth
Gaskell and Samuel Richardson rebel against this literary archetype and ascend their heroines
from Magdalene to Madonna, Jane Austen banishes her fallen woman in shame, just as Eve was
banished from Eden, supporting the notion that follied women have no place in her respectable
society.
Stoops to Folly, originating from a poem in Oliver Goldsmiths sentimental novel, The
Vicar of Wakefield, is a euphemism for being seduced and abandoned (Johnson 160). According
to the poem, when a woman is scandalized in this manner what charm can sooth her
melancholy/What art can wash her guilt away? and her only option is to become a pariah and
To hide her shame from every eye (Goldsmith 71). She is destined to [pace] about her room
again, alone (Eliot 14) and inevitably die. Jane Austen attempts to depict this devastation in
Sense and Sensibility through Colonel Brandons deceased lover, Eliza Williams. She is
abandoned by her husband through divorce, and when Brandon is able to locate her, she is in
the last stage of consumption (147). In keeping with the fallen woman tradition, Eliza has
wasted away, as life could do nothing for her (147). However, as with the prior deaths, the
reader is never introduced to this fallen woman in the flesh, only through gossip. Once Elizas
narrative has served its purpose, which is to develop the plot, she vanishes from thought and
It should be understood that the fate awaiting women of folly is not solely to give
repentance to [their] lover (Goldsmith 71) and fall into martyrdom. In fact, Claudia L. Johnson
argues that these women can be represented far differently: as fools, as temptresses, as common
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criminals, as pioneers of sexual liberty, as pariah (160), with which Jane Austen appears to
agree. In Emma, the narrator states that when [a woman] stoops to be disagreeable death is
Being disliked at least twenty-five years through death, and she will then be spoken of with
compassionate allowances (363). It would appear that Austens definition of stooping to folly
includes women of a disagreeable temperament who displease others in their society. Until these
foolish, disagreeable aspects of society are eliminated, every character in their community and
While Pride and Prejudices Lydia Bennet is described as being one of the silliest girls
in the country and having [a mind]more vacant than [her] sisters, her story arc is,
arguably, the most serious among that of the Bennet girls (20). She is untamed, unabashed,
wild, noisy, and fearless, but she is also ignorant of the real world (204). In the beginning of the
novel, she knows just enough of marriage to want it for herself but too little to have a competent
understanding of it, and by the time of her elopement, she has not changed. Her naivety is
demonstrated in her eagerness to broadcast her newfound marital status to the neighborhood as
though it is a new bonnet or dress. She states that [she and Wickham] overtook William
Gouldinglet down the side-glassand let [her] handrest upon the windowso that he
might see the ring (205). To Lydia, marriage is a superficial institution which allows her to
take [Janes] place nowbecause [she] is a married woman (205). Her ignorance renders her
blind to the fact that she could have fallen victim to unmentionable horrors had Darcy not found
her.
While Lydias entanglement with Wickham ostracizes her and threatens to scandalize the
entire Bennet family, her narrative takes her dangerously close to the role of a fallen woman.
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Fallen women are often depicted as an incarnation of innocence, seduced and ultimately
abandoned by a rake. This often leads to a life of desolation and hardship, sometimes leading to
prostitution, before they inevitably die a slow, melodramatic death. This death is seen as a way to
purge the perceived immorality from society (Barnhill 6). Regardless of her flightiness and
coquetry, Lydia is, for all intents and purposes, innocent. Her inexperience drives her to [throw]
herself into the power ofMr. Wickham, which could lead her to the same fate as Colonel
Brandons Eliza, alone and dying (210). Wickham confirms this hypothetical outcome when he
admits that marrying Lydia had never been his design, and he seems to shirk the responsibility
of her folly completely (210). Had Wickhams plan come to fruition, the only socially-
Lydias actions are not only an affront to her family and their reputation but a scar on the
face of their community. Johnson contends that, as a fallen woman, Lydia is an offense to good
societyand must be sequestered, her story suppressed (166). As the local clergy, Mr. Collins,
the Bennets cousin, represents the code of morality as it exists in the social universe of Pride
and Prejudice. Considering this, his assertion that the death of [Lydia] would [be] a blessing in
comparison to [her scandal] is not merely a familial criticism; it is a criticism from a moral
superior (192). Furthermore, he advocates for the exiling of the fallen women from the family,
insisting that the Bennets throw off [their] unworthy childand leave her to reap the fruits of
her own heinous offence (193). In keeping with Johnsons suggestion, Mr. Collins attempts to
suppress the story of Lydia and Wickham in order to avoid a scandal. Although she is a fallen
woman, Lydia is an unlikely candidate for endearingly penitent decay (Johnson 166). So what
is to become of the scandalized woman who refuses to die or accept responsibility for her
actions?
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The death of a fallen woman serves a dual purpose in a sentimental narrative: to cleanse
her reputation and to remove the wrong from society. Gretchen Huey Barnhill argues that
female wrongdoing is purged from respectable England by removal of the woman criminal (6).
As the woman criminal, Lydia has polluted her community, and as such, she must be removed.
Rather than adhere to tradition and send her to the grave, Jane Austen chooses to politely address
this deviant by exiling her. After their return to Longbourn, following their hasty marriage, Lydia
and Wickham announce they will not be staying long as [Wickham is] to join his regiment at
the end of a fortnight (206). They shall be at Newcastle all winter, and Mrs. Bennet remarks
later to Mr. Bingley that it is such a way from [Longbourn] a place quite northward (206,
219), indicating that Lydia and Wickhams new home is not remotely close to the Bennets. After
they depart, Lydia is heard from through correspondence but never physically seen in the
confines of the novel again. She is killed through exile, and the illicit scandal she has wrought is
and self-awareness. Regardless of her status as Anne Elliots rival for Captain Wentworths
affections, Louisa is a relatively enjoyable character. She is described as possessing all the usual
stock of accomplishments and being like thousands of other young ladies, living to be
fashionable, happy and merry (30). However, for all her virtues, she is as imprudent when it
comes to love and marriage as Lydia. Louisa believes that if [she] loved a man[she] would be
always with him, nothing should ever separate [them] which is an idealized, fanciful view of
something she cannot fully comprehend. She is unconcerned with the realities of financial
hardships, raising children, and other critical aspects of marriage in the nineteenth century; her
sole focus is the whimsical notion that love can solve any problem. While it is acceptable for
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fifteen-year-old Lydia Bennet to hold this belief, at twenty years old, it is inappropriate for
Louisa. Her puerile outlook betrays her, and Annes unspoken assertion that she, herself, would
never give up her more elegant and cultivated mind for all [Louisas] enjoyments (30) denotes
Louisas literal and figurative fall from grace is a result of her impatiently throwing
herself into the arms of a man who is not ready for her. Considering she does not have the
elegant and cultivated mind of Anne Elliot, she must resort to childish plots to attract the
attention of her suitors. This includes having Captain Wentworth jump her from the stiles
which is described as being delightful to her (79). While this activity appears innocent, a
woman leaping into the arms of a man, particularly a man with whom she is rumored to be
engaged, is flush with sexual symbolism. In this respect, Louisa becomes a temptress, attempting
to seduce Wentworth against his will. She ultimately fails, though, and the pavement that renders
her unconscious is emblematic of the seemingly immovable social rules governing women in her
society. While Anne and the other women keep their feet firmly on the ground, Louisa attempts
to defy gravity and escape the rigid laws of courtship, but she falls short. While she is certainly
complicit in her own destruction, the devastating incident on the stairs is an effect of Louisas
If Louisa is the fallen woman of Austens Persuasion, then it would stand to reason that
Wentworth is cast in the role of the seducing rake. Similar to Henry Crawford in Mansfield Park,
Wentworth flirts with Louisa and Henrietta for entertainment, as well as a means of servicing his
angry pride, an allusion to the passive aggression he directs at Anne (171). The outcome of this
flagrant, thinly-veiled, symbolic philandering is a reputation as an engaged man which has him
startled and shocked (171). While Wentworth is initially willing to wait for Louisas health to
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Lyme, and await her complete recovery elsewhere, successfully abandoning her for a second
time (171). Louisa has once again, however unintentionally, thrust herself into his ill-prepared
arms, and his inability to catch her the first time is a symbolic abandonment. Combined with the
literal abandonment as he absconds to Kellynch, and Louisa has almost fully embraced the role
of a fallen woman.
Musgrove overcomes her fall-induced ailment and emerges a changed woman. There is no
running or jumpingno laughing or dancing, but rather, she wriggles like a young dab-chick
in the water when startled (154). She is, as Charles Musgrove informs Anne, altered (154).
Not only does she receive Jane Austens death by exile, as she is never physically seen after
Anne leaves Lyme, but she experiences a death of the self. She transforms from a chatty,
somewhat hyper young woman to a passive, nervous creature, who Benwick whispers to, all day
long. Claudia L. Johnson asserts that Austen sacrifices disagreeable women to happy endings
(172), and in spite of her initial bubbly personality, Louisas immaturity, impetuousness, and
willfulness make her disagreeable. It is her death that influences Wentworths epiphany and
ultimately brings him back to Anne, closing the novel with a marriage. Louisa, having served her
purpose, fades from the thoughts and minds of the two principle charactersshe is as good as
buried.
Perhaps the closest Jane Austen comes to the traditional fallen woman story arc is the fall
of Miss Maria Bertram of Mansfield Park. The daughter of the wealthy, patriarchal Sir Thomas
Bertram, Maria flirts with Henry Crawford in spite of her engagement to another man. Her
eventual marriage to the bumbling Mr. Rushworth is, as Joseph M. Duffy, Jr. insists, loveless
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and cold-bloodedentered into without even a frisson of passion on [her] part and is
[marries] Rushworth (83). During a visit to Sotherton, a discussion on the best way to get
around a gate, for which Mr. Rushworth is dispatched to retrieve the key, becomes a metaphor
for infidelity. Henry remarks that, rather than wait for the key, a possible symbol for a wedding
ring, [Maria] might with little difficulty pass round the edge of the gate, here, with [Henrys]
assistance but only if [she] really wished to be more at large, and could allow [herself] to think
it not prohibited (71). The sexual nature of this dialogue is further emphasized by Fanny
feeling all this to be wrong[crying]; you will tear your gown (71). According to C.
Willett Cunnington, in the Regency era, garments next to the skin should be white, to conform
with the purity of the mind, offering Fannys comment a dual meaning (20). She draws
attention to the danger Henry Crawford poses to Marias purity should she go with him to see the
ha-ha (a concealed trench that creates a barrier to keep livestock away from the main grounds
and provides an unobstructed view from the main area) which foreshadows her fall.
Unlike Wickham the gold-digger and Wentworth the ignorant flirt, Henry Crawford is
malicious when it comes to courting women he has no intentions of marrying. In this regard, he
is closer to a traditional rake than the aforementioned characters. He willingly pursues Maria in
spite of her engagement, stating that an engaged woman is always more agreeable and voices
his desire to [make] a small hole in Fanny Prices heart by making her fall in love with him
(Mansfield Park 33-34, 157). He views Maria as a challenge, and he courts Fanny solely in an
attempt to leave no stone unturned. Unlike other, more charming rakes, however, his
persistence in a courtship that gives Fanny so much pain is more indicative of vanity and
insensitivity than the delicacy of a true lover (Berger 535). He always has an ulterior motive
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behind his actions, and he never does anything without considering how it affects him. Even
when he claims to be selflessly in love with Fanny, he does not fail to pay homage to the true
love of his life: himself. He states that the completion of my happiness to know I am the doer of
it, that I am the person to give the consequences so justly to her, and his overemphasis on the
I in the passage, which is none other than himself, reveals him to be acting under his own
To her credit, Maria attempts to restore her reputation after her initial flirtations with
Henry Crawford are tantamount to nothing more than her own humiliation. She rationally
considers her position and makes a decision that will best benefit her, setting herself apart from
the immature Lydia Bennet and Louisa Musgrove. While she does not have the cultivated mind
of Anne Elliot or Elizabeth Bennet, she is able to acknowledge that Crawford has the capacity to
[destroy] her prospects, and she thus [retires] in proud resolve, determined only to behave
more cautiously to Mr. Rushworth in future (139). Jane Austen calls attention to the fallen
woman arc, as well as the archetypes tradition of wasting away, through Marias unspoken
epiphany, stating that [Henry] should not have to think of [Maria] as pining in the retirement of
Mansfield for him, rejecting Sotherton and London, independence and splendor, for his sake
(139). Very little is afforded to fallen women, and should they be refused suicide, such as
Elizabeth Gaskells fallen woman, Ruth, they endure a mental and physical depletion which
often leads to death. Maria, however, is desperate to defy this convention, vowing to break free
from the wicked Henry Crawford before he can irreparably harm her life. Unfortunately, this is a
In an almost repetition of Lydias folly in Pride and Prejudice, Maria Bertram elopes
with Henry Crawford, severely damaging her and her familys reputation, as well pulling poor
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Mr. Rushworth into a scandal that will certainly cause him distress. This ultimately leads to her
death through exile which, unlike the aforementioned Pride and Prejudice and Persuasion, does
not include matrimony. Henry Crawford will not be coerced into marriage through monetary
compensation or fear of a tarnished reputation. In Jane Austens society, the man is expected to
have gained some sexual experiences before marriage and both fornication and adultery were
exclusively male prerogatives (Stone 315). Marias punishment is, therefore, more severe than
Henrys. Edmund Bertram refuses to acknowledge their relation, referring to Fanny as his only
sister, a sign that Maria has been disowned in his eyes (Mansfield Park 302). Sir Thomas
Bertram, although willing to provide some assistance to his follied daughter, refuses by vain
attempt to restore what never could be restored (302). Her storyline concludes with a literal
exile to another country, remote and private with Mrs. Norris, where they will be able to live
out their lives (Mansfield Park 302). With the departing of the two disagreeable women, the
marriage plot is allowed to take its course, seeing Edmund and Fanny joined in matrimony. In
keeping with Jane Austens death through exile, as soon as the fallen woman no longer serves a
purpose, she is subsequently forgotten, and for all intents and purposes, she is dead.
From elopement to the symbolic seduction of an ill-prepared man, the narrative of the
fallen woman is echoed throughout Jane Austens novels. Rather than adhering to the traditional
form, however, she employs a symbolic death as opposed to a literal one. The unlucky ladies do
not fall into prostitution and are not afforded a dramatic deathbed scene before dying in a blaze
of martyrdom. As stated in Emma, the death is a clearer of ill-fame, but more importantly, it
is a means of purging this perceived scandal from society (Emma 363, Barnhill 6). Lydia,
Louisa, and Maria are sacrificed to a happy ending, their deaths enabling the marriage plot to
come to fruition. Although Jane Austen is often lauded as an early feminist writer, when
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compared to other authors, her treatment of the fallen woman is almost cruel. Is her act of exiling
these scandalous women merely a plot device intended to orchestrate the happiness of the
protagonist, or is Jane Austen a mouthpiece for a society that places a womans worth on her
chastity?
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Works Cited
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