The squandering of the spirit Women who lived in the long 18th century in England found themselves trapped in a web of expectations and exclusions woven by men. Although wit was considered a desirable quality in a woman, its expression was only favorably recognized when it was perceived as beneficial to men. Daniel Defoe writes that the compliment of wit was paid only to a woman who knew how to remain in her feminine role and use her intellect to enhance that role with keen attention and awareness of social graces. In Jane Austen's Emma, ​​for example, the heroine is drawn to take on additional roles to elevate herself into a position of increased power. Taking on the role of matchmaker, queen of her social circle and Lord of Hartfield, will allow her to extend her reach of influence and control beyond that of her role as a single woman. The nameless Lady of Haywood's Fantomina gives up her polite role in exchange for the power of freedom to pursue her desires and plans, free from the consequences of a tarnished reputation. Consequently, the literature of the long eighteenth century suggests that wit was a double-edged sword for these women, enabling them to gain social influence, but also making them painfully aware of the limits of their influence within their roles. Jane Austen and Eliza Haywood suggest that this frustration pushed them to take on other roles in an attempt to gain whatever power they could gain through their wits and manipulation. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original EssayPerhaps it would first be prudent to define the positive connotation and intended utility of "spirit" as represented in the works of this period. Daniel Defoe's An Essay Upon Projects provides the most comprehensive and historically representative definition of the term, as he writes from a non-fictional male perspective. She suggests that women should be taught “the proper management of their natural wits” (Defoe 272), stating that quality is only complementary when accompanied by refined manners. Although he talks about this “natural spirit”, he is also very keen to promote its regulation through good education. He acknowledges that there is a “fear that they must compete with men in their improvements” (Defoe 268), which he says he considers false. However, it is evident that he believes that an unguided and non-compliant spirit will cause a woman to be “sassy and talkative” (Defoe 272). In describing the ideal cultured woman, he says she must be “all sweetness and sweetness, peace, love, wit and delight” and “fit for the most divine desire” (Defoe 272). This implies that a woman who has spirit, but does not use it to make general efforts to please her society, is not worthy of the compliment. Without possessing more submissive qualities, the intellect is considered a threat. Jane Austen reveals Emma's wit most prominently through her conversations with Mr. Knightley, who describes her as not often “deficient either in manner or understanding” (Austen 161). Not surprisingly, Emma uses this mastery of social awareness and intellectual capacity to explore her realm of power by carefully adopting roles. Identifying herself as a matchmaker, she remains in the feminine sphere of romance, but quietly maintains authoritative control over Harriet's decisions and emotions. By wisely selecting Harriet, born into "illegitimacy and ignorance" with "no sense of superiority" (Austen 61), Emma is able to exercise full jurisdiction over her without consequencessocial. Although Emma will never openly have the opportunity to assume the position of an authority figure as a woman, she is able to secure the pleasure of this role by having "no hesitation in approving," or disapproving, of Harriet's personal decisions ( Austen 52). . Emma too is the undisputed queen of the Highbury society club, delegating to those who are accepted into the club, what is considered right and receiving unabashed praise from all her neighbors. It is she who is asked to arrive early at Weston's ball “for the purpose of expressing her opinion as to the propriety and convenience of the rooms before other people arrived” (Austen 299). It is clear that Emma is not only aware of her position, but works hard to maintain it through her intellect and attention to society's expectations. Despite his dislike of Mrs. Elton, he hosts a dinner party for her at Hartfield fearing that she would be "exposed to hateful suspicion" (Austen 270). Emma stifles her personal feelings and displays a hyperawareness of her actions and their implications to maintain her position as Highbury's social dictator. The role that truly sets Emma apart from the other women of Highbury, and reveals her desire for authority, is her unspoken role as Lord of Hartfield. Mr. Woodhouse, as well as Mrs. John Knightley's early marriage, allows Emma to reign as “mistress of her house from a very early period” (Austen 9). Austen goes on to say that Emma grew up doing “just what she liked” and that the “real evils” of her circumstances “were the power of doing too much her own way” (Austen 9). This suggests that Emma not only liked having authority, but also expected it as a result of her wild upbringing. She possesses the wit to understand that her position in life is unique, as she claims to have no interest in marriage recognizing that "few married women are half as mistress of her husband's house" (Austen 82) as she was at Hartfield. Taking the dominant position in her family, she is not used to being submissive to men. The only real authority over Emma is her knowledge of society's expectations, which pushes her to express her sense of masculine power within the confines of her own home. As Defoe would say, he shows “proper management” (Defoe 272) of his wits by knowing and exhibiting his independent abilities, and yet never allowing them to rise to the surface of his reputation by being an open advocate of his own agency. This is perhaps a significant reason behind her desire for “Hartfield to continue to live in her house” (Austen 419) even after marriage, as it would allow her to be comfortable in her kingdom where she was respected as the highest authority. The notable differences between Emma and the Lady of Haywood's Fantomina are that no one holds her directly responsible for her actions. In the absence of a watchful figure, she is free to use her wits and take on roles with far less caution than Emma would have ever dreamed. By disguising himself as a prostitute, he creates the opportunity to reap “the gratification of innocent curiosity” (Haywood 42). Understanding the changing social expectations associated with her role, she is granted the power of sexuality and flirtation. However, similar to Emma, ​​she remains aware of her primary role as Lady and takes the precaution of giving her name as "Fantomina" to avoid the "loss of her reputation" (Haywood 49). She continues to explore new roles embodying the servant Celia and the widow Bloomer. As Celia, she willingly places herself in a position of vulnerability, but comments that “the brevity of her petticoat did not in the least object” (Haywood 53) to Beauplaisir grasping her leg. This suggests a greater sense of comfort in interpreting the.