Modern scholars have achieved consensus that Frances Burney was writing satire in her novels, acknowledging the range of Burney’s satiric targets and tones, and the merging and submerging of her satire with comedy, irony, melodrama, and sentimentalism. Yet Burney’s contemporary reviewers did not identify Burney as a satirist. In fairness, satire defies easy definition, and the status of satiric fiction when Burney was writing at the end of the eighteenth century was far less secure than at the beginning of the period. Furthermore, satire was gendered as male at the time; women were seen as the targets of satire, not its practitioners. So even when Burney’s reviewers and readers did recognize satiric elements in her work, she was seen as a sentimental novelist, a didactic novelist, a romantic novelist – as anything but a satirist. And Burney did not identify herself as a satirist either. In doing so, Burney was passing – hiding in plain sight as a satirist, defying the conventions of women writers and novelists of her time.