This essay argues that reading works from Jane Austen’s juvenilia alongside Mansfield Park reveals the author’s decades-long engagement in a series of formal experiments traditionally associated with Menippean satire, a strategy she uses to reveal the oppressive nature of British paternalism while still aligning with societal expectations for women authors. “Henry and Eliza” and “Evelyn” lampoon and critique traditional tropes of the popular novel and expose the landed gentry’s and the aristocracy’s proto-capitalist abuses of women, workers, and the poor. Longer (and later) works, “Catharine, or the Bower” and Mansfield Park, expand this emphasis to register anxieties about Britain’s imperial violence at home and abroad. The essay ultimately suggests that Austen’s notoriously tonally opaque novel targets the Evangelical novel as the form most suitable to expose broader British ambivalence toward abolition and emancipation.