Her cousins, seeing Fanny's tears, misinterpret her pain and dismiss her as a hypocrite. The wife of the new minister has a half-sister, Mary Crawford who comes to live with her at the parsonage, accompanied by her brother, Henry Crawford. Mary, first interested in Tom, soon finds herself attracted to Edmund, a matter which distresses Fanny. On the family visit to Sotherton Court, Fanny, now aged eighteen, silently observes Henry flirting, first with Julia and then with Maria. She is particularly concerned for Maria who is already engaged to the young master of Sotherton, the rich but dull Mr Rushworth. As Mrs Rushworth takes the party on a conducted tour of the house, Mary Crawford learns for the first time that Edmund is to become a clergyman; Mary, Edmund and Fanny subsequently debate the merits of an ecclesiastical career. David Monaghan, arguing for a conservative view of the novel, states that Fanny values what has emerged naturally over the centuries, that she alone is able to appreciate the charm of Sotherton as a great house despite its imperfections. She sees the house 'built in Elizabeth's time' as a symbol of tradition and when Mr Rushworth dismisses it as 'a dismal old prison' she defends the English idyllic society, despite in many ways being unequipped for the task. Warren Roberts sees in this debate an expression of the conflict between French atheism and English religion. He asserts that the character of Mary Crawford, whose 'French' irreverence has alienated her from church, is contrasted unfavourably with that of Fanny Price whose 'English' sobriety leads her to faith, a faith that asserts: "there is something in a chapel and chaplain so much in character with a great house, with one's idea of what such a household should be". The young people exploit Sotherton's allegorical potential, particularly in the garden and the wilderness. Henry, looking across the locked gate by the ha-ha says, "You have a very smiling scene before you". Maria responds, "Do you mean literally or figuratively?" She complains of being trapped behind the gate and having "a feeling of restraint and hardship". The dialogue is full of innuendo. Fanny, also present, urges Maria not to climb the gate, warning of spikes, a torn garment and a fall, all unconsciously suggestive of moral violence. Lucy Worsley calls this Austen's most striking incidence of phallic symbolism.