The Caustic Pen Is Mightiest: A Tradition of Female Satire in the Novels of Jane Austen, Ivy Compton-Burnett, and Muriel Spark

Female satirists have long been treated by critics as anomalies within an androcentric genre because of the reticence to acknowledge women's right to express aggression through their writing. In Pride and Prejudice (1813), A House and Its Head (1935), and The Girls of Slender Means (1963), Jane Austen (1775-1817), Ivy Compton-Burnett (1884-1969), and Muriel Spark (1918-2006) all combine elements of realism and satire within the vehicle of the domestic novel to target institutions of their patriarchal societies, including marriage and family dynamics, as well as the evolving conceptions of domesticity and femininity, with a subtle feminism. These female satirists illuminate the problems they have with society more through presentation than judgment in their satire, which places them on the fringes of a society they wish to educate, distinguishing their satire from that written by male satirists who are judging from a privileged height above the society they are attempting to correct. All three women create heroines and secondary female characters who find ways to survive, and occasionally thrive, within the confines of a polite society that has a streak of savagery running just beneath its polished surface.

Mary, Quite Contrary: The Novels of Mary Davys, 1700-1727

As a relatively unknown author, Mary Davys (1674-1732) has garnered scant scholarly attention and little admiration for her work. Those who have written on Davys’s prose fiction most often mention the last three texts she published, Familiar Letters betwixt a Gentleman and a Lady (1716), The Reform’d Coquet (1724), and The Accomplish’d Rake (1727), yet rare mention is made of her first three novels. Moreover, of her later novels, many scholars read them as socially conservative and as representations of Davys’s support of and belief in patriarchy. My project disproves the long-standing and generally agreed upon conceptions regarding Davys’s writings and demonstrates the significance of her life’s work to studies of the novel. By investigating contemporary cultural issues, discussing the popular genres and modes of early eighteenth-century England, and comparing and contrasting Davys’s fiction to other authors’, I explore the myriad ways in which Davys experimented with the formal properties of the novel. Also, by closely examining each novel independently, I foreground Davys’s willingness to engage with charged contemporary topics such as rape, suicide, the laws surrounding inheritance, and male privilege. Not only does she engage with these topics; there is a discernable voice of protest imbedded in the narratives. At times, the techniques Davys employed and the plots she created in her work obscured her social concerns, yet with close reading, subversion also surfaces as one of Davys’s methods. An analysis of Davys’s experimentations with prose fiction and form illuminates the ways in which those innovations allowed Davys to criticize the culture in which she lived. Furthermore, an investigation of the whole of Davys’s work and the totality of her novels—looking at both form and content—exemplifies the importance of Davys for students of feminist thought and the development of the novel.