Introduction No work of art achieves permanence unless its creator imbues it with a unique individual style that solidifies its value across cultures and across time. Truly, art would not exist without style. According to Susan Sontag, the earliest experiences of humankind reflected art as “incantatory, magical. Art was an agent of ritual” (65). This view was followed by the preliminary theory of art as an imitation of reality understood by the ancient Greeks (Greenberg 2; Sontag 65). In any work of art multiple disclosures of truth take place. These contextual revelations can be endless; revelations of the society, not to mention the revelations of the artist himself. It could therefore be argued that the objects seen and felt by the artist constitute the mirrored image of her distinctive society. On the other hand, Alexander Pope argued that socialization itself murders authorial style (Miller 76). In Pope’s opinion, everyone is born with some taste that gets lost through education. Pope argued that nature played a crucial role in the judgment of style (Miller 76). From Pope’s assertion, the reader may deduce that in every art, there is a peculiar goodness that is peculiar to the artist. It is therefore irrelevant to argue the subjective value of one piece of art over another (Galperin 50). Great art reflects its truth vis à vis “the relationship between aesthetic experience as met by the specific – not the generalized – individual, and the social and historical contexts in which that experience takes place” (Greenberg 1). Jane Austen’s novels clearly reflect these dual realities. Her work remains a stylized time capsule that reveals the complexities of the social world that existed in the United Kingdom during the Regency period. The continued popularity of the author’s works speaks to the individuality and appeal of her writing style to generations of readers and scholars since that era. Jane Austen’s stylistic choices typically present male characters as one of two types: shrewdly reluctant romantics, or fools easily duped by Jane Austen’s wily female protagonists that have become so beloved over the years, including Emma Woodhouse, the heroine of Emma . The inner workings of Jane Austen’s characters typically provide somewhat awkward and unnerving insights into polite society (Harding 167). Many literary scholars view Jane Austen’s works as “country house novels” (Le Faye 11). Some have labeled them as “comedies of conduct” according to Le Faye, comedies of manners that embrace the affairs and social conspiracies of upper class people living in a stylish and civilized culture (11). These comedies of conduct typically present a violation of social traditions and etiquette; while Jane Austen’s keen social observations remain veiled by the sparkle and wit of her dialogue (Le Faye 45). As a rule, Jane Austen’s fiction has come to represent “one of the most sophisticated analyses we have of the elusive character or quality of sociable human interaction” (Russell 176). However, a number of literary scholars regard Jane Austen as a darker, more socially engaged writer. Her novels involve the author advancing 19 th century social theory via the use of a style that reveals the theory of mind wit