From the pompous vanity of Sir Walter Elliot in Persuasion (1817), to the shallow reading habits of Isabella in Northanger Abbey (1817), few characters in the works of Jane Austen are spared the gentle satire of her famously ironic narrative voice. Similarly, some of her best remembered characters, like Elizabeth Bennet in Pride and Prejudice (1813), are more than willing to share a sarcastic retort or wry observation.
And yet, Austen, like many other women writers of the period such as Frances Burney, Eliza Haywood and Mary Robinson, are almost always missing from histories of satire. This is less to do with whether their works were satirical – because they blatantly were – and more to do with our problematic understanding of satire.
Satire, as writer Dustin Griffin states, is typically defined as a work designed to “attack vice or folly”, using “wit or riducule” and engaging “in exaggeration and some sort or fiction.”
