Emma

“She would notice her; she would improve her; she would detach her from her bad acquaintance, and introduce her into good society; she would form her opinions and her manners. It would be an interesting and certainly a very kind undertaking; highly becoming her own situation in life, her leisure, and powers.”

Austen adopts a third person close perspective to show Emma’s motives for adopting Harriet as her protégée. To replace Miss Taylor, the governess Emma has just lost, she will act as governess to a girl who needs guidance. Emma’s labeling of her “undertaking” as “interesting” before “very kind” , indicates that Harriet’s improvement will be the means of alleviating her boredom and the channel for her talents.

“The misfortune of your birth ought to make you particularly careful as to your associates. There can be no doubt of your being a gentleman’s daughter, and you must support your claim to that station by every thing within your own power, or there will be plenty of people who would take pleasure in degrading you.”

Emma decides to frame the obscurity of illegitimate Harriet’s origins as an advantage. Within this mystery, Harriet can lay claim to being a gentleman’s daughter and style herself as worthy of marrying Mr. Elton. The mystery also creates imaginative space for Emma to style Harriet in accordance with who she wants her to be, rather than on who she is.

“Emma is spoiled by being the cleverest of her family. At ten years old, she had the misfortune of being able to answer questions which puzzled her sister as seventeen […] And ever since she was twelve, Emma has been mistress of the house and of you all.”

Mr. Knightley believes that Emma’s problems stem from her intellectual superiority to the rest of her family. Given that there was no one to keep her pride in check or oppose her wilder schemes, she became mistress of her father’s household at the age of 12. Here, Mr. Knightley echoes the omniscient narrator’s earlier view that Emma’s character flaws stem from her having her own way too much. This establishes Mr. Knightley as a reliable check to Emma’s thoughts about herself, which are related in third person close perspective.

“Her many beginnings were displayed. Miniatures, half-lengths, whole-lengths, pencil, crayon, and water-colours had all been tried in turn. She had always wanted to do every thing, and had made more progress both in drawing and music than many might have done with so little labour as she would ever submit to.”

Austen uses the example of Emma’s artistic endeavors to display the quick but restless nature of her mind. She is curious and wants to try everything, but she ultimately tires of projects quickly and moves onto the next. Although she is highly able, her lack of persistence diminishes her skill. Austen also implies that the traditional pursuits of genteel young ladies are not enough to satisfy Emma’s intelligence. She aspires to have more influence than these pursuits would grant her by meddling in the lives of others.

“I am very much mistaken if your sex in general would not think such beauty, and such temper, the highest claims a woman could possess.” 

Mr. Knightley criticizes Emma for her interference in Harriet Smith’s love-life and for her misguided opinion that Harriet’s looks and good nature overshadow her intellectual and social inferiority. In response, Emma cites the cliché that her male peers regard sweetness and beauty as the most important qualities in a wife. Emma’s claim is modeled in the marriage of her sweet but unintelligent sister Isabella to Mr. Knightley’s rational brother, Mr. John Knightley.

“I have none of the usual inducements of women to marry. Were I to fall in love, indeed, it would be a different thing. But I have never been in love; it is not my way, or my nature; and I do not think I ever shall. And without love, I am sure I should be a fool to change such a situation as mine.”

Emma’s declaration that she will never marry is unusual for a woman of her time. Emma stands little to gain in fortune and social consequence through marriage. She imagines that unless she falls under the mind-altering influence of love, she is better off remaining mistress of her father’s house than subordinating herself to a husband. Emma, who has never been in love, also attests to complete self-knowledge when she claims she is not the type to do so. The novel’s scope will be to expose the limitations of Emma’s foresight when she falls deeply in love with Mr. Knightley.

“If you were as much guided by nature in your estimate of men and women, and as little under the power of fancy and whim in your dealings with them, as you are where these children are concerned, we might always think alike.’”

Mr. Knightley highlights that Emma’s central problem is that she relies on her imagination at the expense of her instinct. Whereas “nature” is her guide when dealing with her sister’s children, when it comes to romantic love, she falls under the influence of “fancy and whim.” Given that Emma’s journey in the novel will be to become more like Mr. Knightley and so become worthy of him, she has to learn to rely more on nature than fancy.

“Scarcely had they passed the sweep-gate and joined the other carriage, than she found her subject cut up—her hand seized—her attention demanded, and Mr. Elton actually making violent love to her: availing himself of the precious opportunity, declaring sentiments which must be already well known, hoping—fearing—adoring—ready to die if she refused him […] It really was so.”

Austen’s use of the passive voice conveys Emma’s state of astonishment when the unthinkable happens: Mr. Elton’s proposal to her instead of Harriet. The numerous dashes slow down proceedings, enabling the reader to experience the escalating horror of Mr. Elton’s successive unwanted advances. The dashes also indicate the comic hyperbole of Mr. Elton’s approach. Although Emma and the reader know that Mr. Elton’s pursuit of Emma is mercenary rather than romantic, he makes hyperbolic statements to style himself as an ardent lover. While Emma is shocked, the reader, who has witnessed the progress of Mr. Elton’s courtship, is given a comic treat, as Austen combines moral commentary with a ridiculous display.

“The hair was curled, and the maid sent away, and Emma sat down to think and be miserable.”

This passage shows the transition between Emma’s public and private selves. On returning home after her traumatic proposal from Mr. Elton, Emma’s sense of responsibility towards her family causes her to remain falsely cheerful in front of them. She also has to endure her customary nocturnal routine of having her hair curled by her maid before she can entertain her private misery. Her handling of the delicate situation at this stage indicates that it is a source of shame and embarrassment that will have long-lasting effects

“Your amiable young man can be amiable only in French, not in English. He may be very ‘aimable,’ have very good manners, and be very agreeable; but he can have no English delicacy towards the feelings of other people: nothing really amiable about him.” 

Mr. Knightley believes that Frank Churchill’s expressive letter shows that he is amiable in style but not in substance. Given that at the time Austen was writing her novel England was fighting the Napoleonic Wars against France, Mr. Knightley’s distinction between the similar-sounding words in the two languages has added potency. Those who are “amiable” in English can be trusted, whereas the “aimable” in French are suspicious. Mr. Knightley, who sees the charming Frank Churchill as a rival suitor for Emma’s affections, styles him as the foreign enemy to Highbury, as he urges Emma to make the distinction between the two types of amiability.

“She has had many a hint from Mr. Knightley and some from her own heart, as to her deficiency—but none were equal to counteract the persuasion of its being very disagreeable—a waste of time—tiresome women—and all the horror of being in danger of falling in with the second-rate and third-rate of Highbury, who were calling on them for ever, and therefore she seldom went near them.”

This passage shows the disconnect between Emma’s moral conscience and her actions. It also shows that Mr. Knightley is synonymous with Emma’s conscience, and therefore her moral guardian of sorts. While she knows that it is her responsibility to call on the Bateses, who have fallen in social status, she dreads the drain on her time and energy, and her snobbery causes her to wish to maintain a distinction between them and herself. As the novel progresses, part of Emma’s education will be to put duty above her selfish inclinations.

“When you have been here a little longer, Miss Fairfax, you will understand that Mr. Elton is the standard of perfection in Highbury, both in person and mind.”

Emma, who knows that Mr. Elton is far from perfect, shares the town’s common view of the priest with Jane Fairfax. The reader knows that her tone is ironic and mocking. She wishes to provoke cautious Jane while at the same time demonstrating her awareness of the limitations of a sheltered place like Highbury, where the provincial residents consider a man like Mr. Elton perfect. The passage also shows that Emma learned the truth of Mr. Elton’s character from experience.

“Human nature is so well disposed towards those who are in interesting situations, that a young person, who either marries or dies, is sure of being kindly spoken of.”

This phrase is typical of Austen’s epigrammatic commentary on her society and human nature. It balances the realistic observation of human curiosity with a humorous exposure of its voraciousness. Regardless of whether the interesting situation is dramatically fortunate in being a marriage, or dramatically negative in being a death, its drama registers on an equal level.

“Harriet could not very soon give an intelligible account. She was feeling too much, but at last Emma collected from her enough to understand the sort of meeting, and the sort of pain it was creating.”

This quote is one of many in the novel that show the futility of words in moments of high emotion. Harriet feels so much during her truncated visit to the Martins that she is not able to give Emma any eloquent report of what has taken place. In contrast, moments of insincerity are conveyed through high levels of volubility.

“A little upstart, vulgar being, with her Mr. E., and her caro sposo, and her resources, and all her airs of pert pretension and underbred finery. Actually to discover that Mr. Knightley is a gentleman. I doubt whether he will return the compliment, and discover her to be a lady.”

Emma’s snobbery and her sense of social distinction are evident in her outraged response to Mrs. Elton. She accuses Mrs. Elton of displaying the vulgar behavior of the newly wealthy, given that she flaunts her status symbols and her education. This is reflected in her fashionable, if incorrectly gendered, use of the Italian endearment “caro sposo.” (It should be “cara sposa,” as spouse is feminine in Italian). Emma also notes Mrs. Elton’s unorthodox manner of referring to gentlemen’s names. Whereas a well-bred lady would use the terms Mr. Elton and Mr. Knightley, Mrs. Elton’s shortcuts “Mr. E” and “Knightley” are vulgarities. When Emma is offended at Mrs. Elton’s discovery that Mr. Knightley is a gentleman, she displays some anxiety about safeguarding her social status. In Emma’s world people are born into gentility; whereas Mrs. Elton suggests the alternative proposition that people are discovered to have it.

“‘I did not mean, I was not thinking of the slave-trade,’ replied Jane; ‘governess-trade, I assure you, was all that I had in view; widely different certainly as to the guilt of those who carry it on; but as to the greater misery of the victims, I do not know where it lies.” 

Jane Fairfax compares having one’s intellect sold as a governess to the indignity of being a slave. While her claim is hyperbolic, given that a governess is paid for her work and free to leave whenever she chooses, in using the analogy, she makes clear that becoming a governess is not a choice she has made for herself. Jane, who has distinguished herself through her accomplishments, does not want those same talents to be channeled into the improvement of other young women, rather than in making her own life. Jane’s description of the misery of governesses alludes to the common notion in Austen’s society that governesses were lonely because they were too low to mix with the family and too high to mix with the servants.

“Emma must submit to stand second to Mrs. Elton, though she had always considered the ball as peculiarly for her. It was almost enough to make her think of marrying.” 

Emma resents having to “stand second” to Mrs. Elton, who is using her status as a new bride to claim that the ball is in her honor. A humorous clash occurs, as Emma also thinks that the ball is particularly for her. While at the beginning of the novel she was adamant that marrying would not improve her social position, she now realizes with some indigence that this is not always true. Losing her social prominence to a new bride is enough to make her contemplate the dramatic change of marrying.

“Miss Smith—oh—I had not observed.—You are extremely obliging—and if I were not an old married man. —But my dancing days are over, Mrs. Weston. You will excuse me. Any thing else I should be most happy to do, at your command—but my dancing days are over.” 

This fragment of dialogue from Mr. Elton’s refusal to dance with Harriet, shows how he lays a veneer of officious politeness over his snub. His snub intends to mortify Harriet and insult Emma, given their early plans for him. First, he pretends that he has not observed Harriet, after offering to dance with two other women, and then he repeats the pleasantry that he is an old married man whose dancing days are over. He thus simultaneously makes his snub unmistakable, while engaging in the patter of respectability.

“I am determined against all interference. Henceforward I know nothing of this matter. Let no name ever pass our lips. We were very wrong before; we will be cautious now.”

Emma’s pretensions of caution and discretion to Harriet, when the latter presumes to set her sights on a man who is her social superior, proves ironic in the full course of the novel. While Emma seeks to atone for her previous offense by actively refusing to interfere, these very actions produce the heightened scenario of Harriet’s belief that she has Emma’s blessing to pursue Mr. Knightley, not Frank Churchill. The attempt at caution exacerbates the drama when Emma ends up involved in a misunderstanding which hurts her personally.

“I must, I will—I will tell you truths while I can; satisfied with proving myself your friend by very faithful counsel, and trusting that you will some time or other do me greater justice than you can do now.” 

After reproaching Emma for her treatment of Miss Bates, Mr. Knightley vows that he will remain devoted to improving her character. He does so by offering her the harsh reflections that none of her flatterers dare to. He imagines a future time when her behavior will do greater justice to his counsel than in its present state.

“So unlike what a man should be—None of that upright integrity, that strict adherence to truth and principle, that disdain of trick and littleness, which a man should display in every transaction of his life.” 

When Emma learns that Frank has been deceiving them all, in keeping his engagement to Jane Fairfax secret, she judges his character poorly against her notions of “what a man should be.” The integrity and stability she describes are consistent with Mr. Knightley’s character and his own views of masculine propriety. This comes at the point in the novel just before she realizes that Mr. Knightley is the man she loves, and she fears she has lost him forever.

“Till now that she was threatened with its loss, Emma had never known how much of her happiness depended on being first with Mr. Knightley, first in interest in interest and affection. —Satisfied that it was so, and feeling it her due, she had enjoyed it without reflection; and only in the dread of being supplanted, found how inexpressibly important it had been.” 

When Harriet communicates that Mr. Knightley is the object of her affections and thinks that he returns her sentiments, Emma is horrified. She then is forced to reflect on how important Mr. Knightley has been to her and how she has taken being his special object for granted. The importance of Mr. Knightley is the key to Emma’s self-knowledge, and the realization comes at a moment when their intimacy is threatened with permanent loss. Although this marks a turning point for Emma, the reader, who has seen how Emma’s thoughts frequently fly to Mr. Knightley, is unsurprised.

“What totally different feelings did Emma take back into the house from what she had brought out—she had then been only daring to hope for a little respite of suffering—she was now in an exquisite flutter of happiness, and such happiness moreover as she believed must still be greater when the flutter should have past away.” 

This extract marks Emma’s extreme delight at knowing herself loved by Mr. Knightley. Her flutter expresses all the animation and distraction of being in love, while she is at the same time conscious that she will feel even better when the fever has passed. Her instinct tells her to prepare for lasting happiness rather than a fleeting infatuation.