If ever Jane Austen set out to depict the moralistic divide between Regency society and pre-Victorian property, she did so with Mansfield Park. To achieve this, his characters are torn between these divergent ideologies. The majority succumbs to their unscrupulous fantasies while the few but faithful allow themselves to be governed by a sense of duty. This distinction is as sharp as it is unwanted, as the plot revolves around characters struggling to convert each other. Henry Crawford, a rich and friendly gentleman, makes this pastime his main entertainment. As for his methodology, it is difficult to distinguish where theatricality ends and reality begins. Since Crawford is an exceptional actor with magnificent charisma, it is difficult to discern his sincerity and put off his charm. Austen uses the persona of Crawford to demonstrate that authenticity determines where conviction is felt and where principles are honored. As such, it embodies one of Austen's greatest challenges to her readers, who are faced with the moral predicament of whether this most lovable actor should be applauded or chastised. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Henry Crawford is something of an anomaly as a charming thief, as the first description of his appearance is that "he was not handsome, but had air and appearance; lively and pleasant manners." (35). He is also described by his sister Mary as "the most horrible flirt imaginable" (36) and has a flock of admirers "dying" to marry him. Despite all their efforts to "reason, persuade, or deceive him into marriage" (36), however, he cannot be persuaded to abandon his freedom as a bachelor. As we are told, "anything like the permanence of residence or the limitation of society, Henry Crawford had, unfortunately, a great dislike." (35). This is very important information in establishing his character because it shows that he will avoid the constraints of marriage as long as his youthful autonomy is entertaining enough. That is, the moment he finds himself unable to woo a woman, who needs to have a strong moral character if he can resist it, is the moment he is most likely to think himself in love. He is a conqueror of challenges, not honest courtships, and as such does not have enough compassion to feel conviction for his actions. Aside from this vibrant independence, Crawford's second greatest character trait is determination. Whatever he sets his sights on must be achieved at all costs, and this is where his skill as an artist becomes his greatest asset. He exercises this talent with the commitment of a mother to her beloved child and the alacrity of a playful puppy. He also takes great care to spend his time in a rewarding way, so that he never lacks the gentleman's "wholesome league of work" (204). "Recreation and indulgence" are fine, but as he says of himself "...I don't like to eat the bread of idleness." (204). Equally true, he despises drinking the wine of postponement, because he is not at Mansfield Park for a week before he sets off to romance the Miss Bertrams. The pinnacle of his quest reaches a climax when he assures himself that both their hearts are in his hands, and we see his dedication wane as his vanity has been satiated. Therefore, his attentions are superficial and selfish, and not at all what they seem to his hopeful admirers. It is during his first acquaintance with the Bertram family that Crawford's acting debut occurs. Even if he is not inclined towards marriage, his affable facade gives the impression of wanting to involve the more permanent affections of women. Its realintentions are made perfectly clear by the story, that "He did not want them to die of love; but with good sense and temperament which should have made him judge and feel better, he allowed himself great freedom on such points." (37). Austen begins her illustration of correctness in the exercise of belief here. The reader knows that Crawford has good judgment, but his moral failure is his inability to see the exercise of it as his duty. His claims as an artist jeopardize his integrity because he assumes they are irrelevant, and perhaps even shared, by others. For him, "All the world's a stage, and all the men and women are merely actors." With this mindset, he doesn't care about the sincere feelings of others, who can't help but watch him waltz around Mansfield Park as the greatest tempter since the Serpent of Eden. Crawford's true duplicity as an actor comes into even sharper focus in the Sotherton episode. The Bertrams and the Crawfords set off to see Mr Rushworth's vast estate at Sotherton. At this point Maria Bertram is almost formally engaged to Mr. Rushworth, a clumsy and boring gentleman. However, it is Crawford who engages his affection and is quite aware of his influence. Despite the indecency of his behavior, he continues to lure Mary even into the chapel, where he has the intimate privilege of whispering: "I don't like to see Miss Bertram so close to the altar." (79) His romantic allusion is strengthened by the "look of meaning" that follows his speech. (79) Later, he convinces her to continue the walk alone by passing a closed gate. However improper, the inducement is too great for Maria when she sardonically observes, "And for the world you would not go out without the key and without the authority and protection of Mr. Rushworth, or I think you could pass with little difficulty over the edge of the gate, here, with my help; I think it could be done, if you really wanted to remain more free, and 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 read, however, is the underlying promotion of indecency. As Ian Littlewood says of this event (and also of acting in general), its ownership "is about what they mean here, to this group of characters in this particular context...[it represents] an attempt to circumvent 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 instigates this misconduct as an unaffected suitor is evidence of his good performance. Furthermore, it demonstrates how his initial plans for knowledge, for which the Miss Bertrams would have done nothing but appreciate him, give way to his superficial principles and indelicacy. The theatrical interlude in Mansfield Park also amplifies Crawford's theatricality. Having lived in London and been exposed to many shows of this type, he really has the best concept of good stage presence. He is also the most notable actor in the private company. However, he lacks the ability to act as both a lover and another character, and Julia Bertram senses his pretentiousness. Realizing that he is exposed to her as a fraudulent suitor, he tries to restore their coquetry "with the usual fit of gallantry and compliments." (143). When his half-hearted attempts fail, he gives up altogether, because he was "too busy with his game to have time for more than a flirtation" (143). The more Julia understands how he operates, the more she realizes that his attentions have been rewarded at the expense of hers. This inversion of.