Jane Austen's Belief System Transformation

This paper argues that there is a Romantic change in the related to feeling that women and men must be treated equally and believing that people should be themselves without trying to be like others. Belief systems of Jane Austen's work as her career goes forward, and Austen begins to like and respect different thinking-related qualities in her female heroes. At the end of 'Pride and Prejudice', Elizabeth's confessed love for Darcy is a well-thought-out one - Darcy has righted the wrongs referred to in Elizabeth's original refusal and Elizabeth can give a good reason for her own acceptance of him by unemotional and factual standards. Anne Elliot of ‘Persuasion’, very differently, accepts Wentworth (in the end) not on the basis of anything he has done differently, but only by the understanding of her own original feelings of love, hate, fear, etc. and reasons for doing things as valid. Throughout the novel, Anne develops as this individual on her own, and by the time she finally marries Wentworth at the end of the novel, the marriage is not needed to complete her because she has already made her emotional change independent of the marriage proposal. The solid basic structures on which bigger things can be built for both of Jane Austen's novels ‘Pride and Prejudice’ and ‘Persuasion’ are so almost the same that they demand sideby-side comparison, but the female heroes of these novels show a very different approach to describing the good woman.

The memory of Elizabeth by means of Anne's character serves to explain and cement this change in Austen's tone and opinion of the world. The things that are almost the same as other things placed next to a visible move in the qualities of the female hero strongly suggest that Anne Elliot is a redoing of Elizabeth Bennet, and that the purpose of ‘Persuasion’ is to reinvent ‘Pride and Prejudice’. In a way it shows Austen's reconsideration of the value and reasons for doing things of marriage and gives even more thinking-related and emotional credit to Persuasion's female hero.

There exists a carefully hand-made language of hint in Austen's works, and especially between these two bookends of her career, which seem to serve almost as a intelligent talk for Austen's own benefit. In this way, Austen is showing her own move into Romanticism, valuing the emotional over the reasonable, and how this shift should play out into the lives of women. Elizabeth is representative of women being capable and worthy to reason in the world of men, whereas Anne's desire to do things for yourself and not be like others gives women something even more important in Austen's statement of the something is truly what it claims to be and worth of female feelings of love, hate, fear, etc.

Jane Austen's final novel ‘Persuasion’ remains the most critically neglected text in her canon. At the time of its book it was criticized for being 'a much unluckier performance than her previous novels and viewed as little more than a low-quality version of her practice of writing stories “devoid of invention...obviously all drawn from experience” (The Critical History, 80, 84). For years, people did not challenge these unimpressed opinions that served as the agreement on Austen's final thing that's given to the world. A closer look at ‘Persuasion’, however, tells about it to be Austen's most related to fighting authority or causing huge, important changes and socially interesting novel for the way that it represents the role of the female hero in the world of 19 th century in England. ‘Persuasion’ is Austen's most radical novel because it accounts for and supports a way of thinking where action is based upon feeling of love, hate, guilt, etc., gut feeling and interest for one's own personal happiness. Also, in ‘Persuasion’, Austen works at a language of hint through the situations and characters that brings out her first novel, 'Pride Prejudice'. This memory shows that Austen intends for these two bookends of her career to be in direct conversation with one another, and that Persuasion is a powerful rewriting of ‘Pride and Prejudice’.

In ‘Persuasion’, Austen very much changes from creating her female hero as ruled by proper behavior and reason to being permitted and encouraged to respond and act based upon feeling of love, hate, guilt, etc. and gut feeling, a statement almost unheard of in the male-ruled-over world of polite community of people. This shift is explained further by the related to what's near the object or word being studied memory of her first novel, ‘Pride and Prejudice’. These first and last works share many of the same character and plot features, but the tone and theme of each are very surprisingly different. The memory of Elizabeth by means of Anne's character and the parallel solid basic structures on which bigger things can be built of the novels serve to explain and cement the change from valuing feeling of love, hate, guilt, etc. Over reason in Austen's tone and feminine opinion of the world. While ‘Persuasion’ most looks like ‘Pride and Prejudice’ and in terms of a direct intelligent talk, many of Austen's other novels, especially ‘Sense and Sensibility' and 'Northanger Abbey' will provide standards by which Austen's development and the emotional development of the female hero can be gauged.

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At the end of her career, Austen tries to to define personal happiness and success by a different than has been showed in her other novels, and in ‘Persuasion’, she offers an argument for the right that a woman in Regency England has to chase after this happiness. The novel ‘Persuasion’ deals with the question of happiness and tells about many of Austen's influences, mostly though the topics of social change in England, the role of the family, the books and poetry of Romanticism, and the comparison of the female heroes Elizabeth Bennet and Anne Elliot.

Ever simple of her own art, Austen describes her novels to her sister Cassandra as “rather too light and bright and sparkling”, suggesting that because of their setting in the rich and fancy country they are not as serious or worldly as the efforts of her (Letters, 203). From a certain place to clearly see things and on a very shallow level, her other novels do occupy the same social and land-area-based space. Austen knew and did not apologize for this. She in a very well-known way described her novels as operating with 'the little bit (two inches) of ivory on which I work with so fine a brush, a description which can seem small if a reader does not understand the importance and depth of understanding of the world that lies behind Austen's details of gentlewomen and manners (323).

Gilbert and Gubar strongly defend express in 'The Madwoman in the Attic’ that: “Austen attempted through something that people choose to do to themselves book-like limits to define a secure space, even as she seemed to admit the event that can never happen of actually living in such a small space with any degree of comfort” (108). Such opinions hold that Austen writes from such a specific way of seeing things in order to secure evenness and equality throughout her canon. However, ‘Persuasion’, Austen's last novel, displays a clear change in the way that Austen views the role of the female hero and her feelings of love, hate, fear, etc. within her small social world of influence.

The solid basic structures on which bigger things can be built for both of Jane Austen's novels ‘Pride and Prejudice’ and ‘Persuasion’ are so almost the same that they demand side-by-side comparison, but the female heroes of these novels show a very different approach to describing the good woman. While not restricted to the ends, the last chapters of ‘Pride and Prejudice’ and ‘Persuasion’ help to illustrate and include the importance of Austen's change. At the end of ‘Pride and Prejudice’, Elizabeth's confessed love for Darcy is a well-thought-out one -Darcy has righted the wrongs referred to in Elizabeth's original refusal and Elizabeth can give a good reason for her own acceptance of him by unemotional and factual standards. Anne Elliot of ‘Persuasion’, very differently, accepts Wentworth (in the end) not on the basis of anything he has done differently, but only by the achieving a goal of her own original feelings of love, hate, fear, etc. and reasons for doing things as valid. The things that are almost the same as other things placed next to a visible change in the qualities of the female hero strongly suggest that Anne Elliot is a redesigning of Elizabeth Bennet, and that the purpose of ‘Persuasion’ is to reinvent ‘Pride and Prejudice’. This reinvention shows Austen's reconsideration of the value and reasons for doing things of marriage and gives even more thinking-related and emotional credit to Persuasion's female hero.

Throughout the earlier part of Austen's canon it is clear to readers that her female heroes and the characters around them are judged by the way of thinking of personal good qualities being (in the end) connected to their power and ability to see general universal truths. By ‘Persuasion’, however, Austen appears to have changed to a way of seeing things where she values the courage to identify and act upon personal values and gut feelings. In ‘Persuasion’, the reader is angrily faced to with one of the most radical novels to focus on the women's point of view to that date, challenged finally by Jane Eyre twenty-seven years later. The story style of ‘Persuasion’ is a much more interior story than any of Austen's other novels, and the writing is also. It follows and wanders with Anne's thoughts and perceptions in a style that looks to be right on the edge writing down the thoughts that pass through the mind as they happen.