their escape from any sanction for their malefactions is consistent with the historical record of how women were punished, despite the fact that they violate customary gender roles.  Cassandra, Eliza, Laura and Sophia and so many more of the heroines of Austen's Juvenilia transgress, in the active sense of that word: they "walk" outside of the boundaries prescribed to them according to their gender, class, and age. In doing so, they enter into what Bryan Reynolds, in Becoming Criminal , calls "transversal territory" insofar as they strive to "transcen[d], fractur[e], or displac[e] the constantly affirmed world of subjective territory" (19). [16] All of the women of the Juvenilia, with the exception of Charlotte, who commits suicide, feel guiltless. When Sophia, from Love and Friendship is caught stealing a banknote, she cries "Wretch . . . how darest thou to accuse me of an Act, of which the bare idea makes me blush?" (96). [17] Her language perhaps deliberately sexualizes the crime. Because Cassandra's actions in part seem unintelligible, her own and the other heroines' sense of self-righteousness sounds sociopathic, if not anarchical; however, insofar as they escape punishment, Austen is presenting a historically accurate view of the criminal justice system, since, according to Frank McLynn, women were . . . usually treated more leniently by juries and judges, who were more inclined to reprieve and pardon them when found guilty.  On capital charges, they were more likely than men to be acquitted, more likely to be found guilty on a