Novel Emma

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• “Assignment

Subject:

Novel

Group Number:

07

Group Members:

Noor.ul.Hudda. 78

Aleena Sadia. 62

Rimsha Maryam. 45

Nimra. 65

Sehrish Nawaz. 15

Aqsa. 61

Ayesha. 27

Mehreen. 29

Submitted To: Ma’am Khadija


Jane Austen as a Novelist:-

In late eighteenth-century England, the novel was considered a lowbrow form of


entertainment with not much more literary value. "Where the reading of novels prevails as
a habit, it occasions in time the entire destruction of the powers of the mind," thundered
the poet Samuel Coleridge. Part of the reason that novels were looked down on by serious
critics (who were almost always male) was that they were usually written and read
exclusively by women. Also, most of them were bad. The Regency novel was riddled with
clichés—women were rescued by men; the pauper always turned out to be the son of the
duke; one could not swing a dead cat without hitting a dark, foreboding manor or forest.

The Austen family, however, had always been "great Novel-readers," Austen wrote, "& not
ashamed of being so." Thus it wasn't much of a surprise that she wanted to write one
herself. She had no intention, however, of writing the type of pseudo-historical romance
usually associated with the genre. She wanted to write something that reflected real life,
and that exhibited her humour. "I could no more write a [historical] romance than an epic
poem," she wrote to the librarian J.S. Clarke in 1816. "I could not sit seriously down to write
a serious romance under any other motive than to save my life; and if it were indispensable
for me to keep it up and never relax into laughing at myself or other people, I am sure I
should be hung before I had finished the first chapter."

Austen published her first novel, Sense and Sensibility, in 1811. The book was about the
Dashwood sisters, the practical Elinor and the sensitive Marianne. Like the Austen women,
the Dashwood sisters and their mother are left dependent and financially insecure after
their father's death. The nuanced portrait Austen painted of her female protagonists defied
the conventional stereotypes served up by her contemporaries. Both sisters eventually
marry— Austen novels tend to happy endings—but both end up with unlikely matches, with
love and affection triumphing over superficial concerns. Like all of the novels that appeared
during Austen's lifetime, it was published anonymously.

Two years later, she published Pride and Prejudice. More than any of Austen's other novels,
this one illustrated the pressures exerted upon women by society's shifting and all-
consuming concepts of marriage. This struggle is embodied in the protagonist Elizabeth
Bennet, who—like the author—has to make the difficult decision to turn down a marriage
proposal from a man she doesn't care for, before ending up with Mr. Darcy.

Readers were stunned to find themselves enmeshed in a story that they recognized from
real life. "I have finished the Novel called Pride and Prejudice, which I think a very superior
work," a woman named Annabella Milbanke wrote. "It depends not on any of the common
resources of novel writers, no drownings, no conflagrations, nor runaway horses, nor lap-
dogs and parrots, nor chambermaids and milliners, nor rencontres [duels] and disguises. I
really think it is the most probable I have ever read."
Mansfield Park followed in 1814. Its protagonist, Fanny Price, is so controversial that Austen
fan sites post warnings to those bold enough to enter Fanny-related message boards. Taken
from her impoverished parents and raised among wealthy relatives, Fanny is strikingly
different from Austen's other heroines. She is shy, weakly and virtuous (sometimes to an
annoying degree). Yet despite Fanny's frailty, the novel was a complex look at class and
power, and echoed the realism that readers had so loved about Pride and Prejudice.

The heroine of 1815's Emma, however, brought Austen back to form. Emma Woodhouse
was independent, intelligent, and sassy, but she was also as flawed as the next person, with
a lack of self-awareness. Austen exploits this for comedy, of course, but she also made sure
that Emma matured in the course of the book, and settled into a relationship based on
respect instead of social advantage.

Women's lives were definitely the most important in Austen's books—she rarely bothered
to note what the male characters were doing when the women weren't around. Rarely were
her heroines sweet, saintly figures. They got knocked down a peg or two when they
indulged in pettiness (witness the verbal smack down Emma Woodhouse gets for her bratty
behaviour toward the well-meaning Miss Bates in Emma). Austen didn't condemn
characters who chose to marry for material reasons—she was far too practical for that—but
she did make fun of shallow women who thought of nothing else. Women triumphed in
Austen's books when they realized that character mattered more than materialism, and
when they admitted—as with the proud Elizabeth Bennet or the practical Elinor
Dashwood—that it was okay to fall in love.
In 1816, Austen started to feel ill with what was probably Addison's disease, a hormonal
disorder that doctors at the time hadn't yet learned to treat effectively. She was working on
two novels, Northanger Abbey (the novel previously titled Susan that she had bought back
from the lazy publisher) and Persuasion, but the disease zapped her energy and slowed her
progress. In May 1817, she and Cassandra moved to Winchester in order to be closer to
Austen's doctors. Just two months later, on 18 July 1817, Jane Austen died. She was buried
in Winchester Cathedral.

A few months after her death, Austen's brother Henry published her two final novels
together in a single volume. He included an autobiographical note that identified Austen for
the first time as the author of her work. The novels fell out of popularity after a few years,
until Austen's nephew James Edward Austen-Leigh published a biography of his aunt
entitled A Memoir of Jane Austen in 1869. The memoir sparked a renewed interest in the
writer. In 1883 the first popular editions of her novels were issued, igniting a widespread
fandom that continues to this day. Fans' passion for her work was such that the literary
critic Leslie Stephens (who was also Virginia Woolf's dad) dubbed it "Austenolatry," whose
practitioners eventually began to call themselves Janeites.

As a woman who wrote in anonymity and never ventured out of southern England, Jane
Austen would probably be shocked by the worldwide following she still claims nearly 200
years after her death. Her books speak to people across the boundaries of culture, class and
gender. By reflecting real life—the "correct and striking representation of that which is daily
taking place," as Sir Walter Scott said—her books continue to speak to people about the one
thing that's a constant topic of interest to everyone—love. "We are teachers and librarians
and book editors, as expected, but also judges, truck drivers, puppeteers, oceanographers,
and zoo keepers," wrote Jeanne Kiefer, who in 2008 conducted a survey of Austen fans. "We
listen to Elvis as well as Mozart while living in Akron, New Delhi, Tokyo, and Vancouver.
There is only one thing that connects everyone in this group: we all have a special place in
our heart for Jane. And in my view, that is the most important part of the anatomy of a
Janeite."

Realistic elements in Emma

The extent to which Austen's novels are realistic is vigorously debated by scholars. In Austen
novels, there is a "conspicuous absence of words referring to physical perception, the
world of shape and colour and sensuous response". Alastair Duckworth argues that she
displays "a concern that the novelist should describe things that are really there, that
imagination should be limited to an existing order." Jane Austen as a novelist is realistic to
the core. There is nothing fanciful, fantastic, or even unusual in the kinds of life and
characters depicted by her. Emma tells an ordinary story centering round the theme of
marriage and showing the formation and development of the character of its heroine. But it
is a moving novel nonetheless. There are a number of poignant situations in the novel which
owe their effect to their essential realism and to the intensity of feeling which they convey.
"Emma" is a thoroughly realistic novel, realistic in its story, realistic in its characterization,
and realistic in upholding certain moral values in which Jane Austen ardently believed. So
far as the events of the story are concerned, there is nothing special and melodramatic
about them. The only unusual or startling episode in the narrative is Frank's rescue of
Harriet from the gipsies, and this episode occupies hardly one page. Otherwise the story
runs an ordinary course, highlighting certain situations and certain conversations dealing
with the twin themes of marriage and the evolution of the character of the heroine and, to
some extent, that of the hero, Mr. Knightly. The scene of the novel is Highbury, a large and
populous village sixteen miles from London; and most of the incidents of the book occur in
the drawing rooms and gardens of the characters, the street of the town, Ford's clothing
establishment, and at several rural spots near the village. The subject of the novel is
courtship ending in marriage: of Harriet and Robert Martin, of Miss Hawkins and Mr. Elton,
of Frank Churchill and Jane Fairfax, and above all, of Emma and Mr. Knightly. The lower
middle class is ignored: Robert Martin, the young farmer, appears in only two or three
scenes and Emma’s remarks about him are those of a snob. Thus novelist concentrates
mainly on the life of the upper middle class people, describing their social activities, their
interests, their hobbies, their mutual relations, their gossip, their dinner parties and dances,
their outings and excursions.
The characters in the novel are also perfectly real and convincing. Although the
characterization shows a wide range, the novelist does not falter or waver in the portrayal
of any of the persons in the story. There is a large variety of woman characters, each of
whom is individualized and really made to live. Even the minor characters have vividly been
drawn. Mrs. Weston, with her gushing love for Emma, Miss Bates with her overflowing
affection for Jane, and Mrs. Elton with her vanity, and her patronizing manner towards Jane
they are all perfectly life-like. There may be a touch of caricature about the portrayal of Miss
Bates and Mrs. Elton, but essentially the portrayal of each of them is realistic. Then there
are Harriet and Jane, both of whom have been endowed with life and are sharply
distinguished from each other. In Austen's works, the issue of health is in the foreground—
Emma's good health, Mr. Woodhouse's hypochondria, Fanny Price's "physical insecurity."
Health (good or bad) is an important part of the characterization of many of Austen's
principal characters, and beginning with Mansfield Park becomes a crucial element in the
unfolding of her plots. For a woman, health is a commodity, making her more or less
appealing to the patriarchal male gaze. In the opening of the text Emma is described almost
idyllically as ‘handsome, clever, and rich, with a comfortable home and happy disposition’.
The manner in which the novelist has described the state of mind of Emma at this time is
really very touching and shows Emma's capacity for deep falling. There is, in fact, no doubt
at all that, throughout the novel, Jane Austen has skillfully, revealed to us Emma’s feelings
and thoughts in all the situations in which she finds herself, from her natural gaiety and
irresponsibility in the beginning to the final state of humility, sobriety, and maturity of
judgment. Indeed, psychological realism is the keynote of the development in Emma’s
character.
The male characters have also been vividly and convincingly drawn. Mr. Elton is a shallow-
minded man who wants to marry for money and also to raise himself to a higher status
through a matrimonial alliance. "There was no being displeased with such an encourager
for his admiration made him discover a likeness before it was possible". It is of course
Emma – and perhaps her fortune – that is the real object of Mr Elton’s attention. Frank
Churchill is another shallow-minded man who appears to be a crook. Mr . Knightley is a
thorough gentleman, though by no means perfect. He has a penetrating judgement, a
steady temperament, and sound views on life. Mr . Knightly is a man of deep feeling. He is
certainly not a passionate man, but his love for Emma is deep, genuine, and enduring.
The realism behind the moral values advocated by the novel "Emma". We certainly react
unfavorably to Emma’s snobbery, pride, class-consciousness, and airs of self-importance.
Emma is a changed woman fit to be regarded as a real heroine deserving our regard,
admiration, and affection. The moral values represented by Mr. Knightley produce a great
impact on us. The novel shows Jane Austen's abundant moral concern, though she does not,
being a true artist, make a parade of this moral concern. Certain moral values are
uppermost in her mind and she tries to establish them in our esteem by means of her story
and character-portrayal.
Austen's novels are sometimes seen as an outgrowth of the new genres. In an early review
of Emma, Scott himself praised Austen's ability to copy "from nature as she really exists in
the common walks of life, and presenting to the reader ... a correct and striking
representation of that which is daily taking place around him". However, as Austen scholar
William Galperin has argued, Austen could not have participated in 19th-century realism—
the realism with which she later became associated—because it had not yet been fully
defined. Janet Todd writes that "Austen creates an illusion of realism in her texts, partly
through readerly identification with the characters and partly through rounded
characters, who have a history and a memory."

Irony in Emma:-

Austen’s use of irony is so multi-faceted and sophisticated and constantly surprising that it
can hardly be captured within the compass of a definition or theory of irony. The
narratological aspect of this study will be constituted by examining Austen’s use of irony
within their various narrative contexts, for no adequate study of irony in her work is possible
without considering narrative technique. Special emphasis will be given to the two forms of
free indirect discourse, the free indirect representation of thoughts and the free indirect
representation of speech. These two forms of free indirect discourse are used for different
purposes in Austen’s work, as it is evident in the varying representations of major and
minor, and male and female characters. This is an aspect of the novelist’s art which has thus
far been neglected. It is curious that secondary criticism of Jane Austen tends to praise her
irony without going more deeply into this aspect of her art. Thus, referring to Austen,
Robert Polhemus correctly maintains that “irony depends on its audience to detect and
complete meanings extending beyond the literal sense of the language,” but ends by saying
that “for Austen, life itself is the principal ironist”.
A form or irony that may seem a little problematical in the case of Austen in narratorial
irony, a kind of irony for which the narrator is overtly responsible. It is well known that Jane
Austen is one of the most important early practitioners of point-of-view fiction or figural
narration, i.e. narratives in the third person that are written in the reflector-mode, and the
narrator of her novels very rarely refers to herself in the first person. Yet there are a
considerable number of instances in which Austen’s narrator makes comments, many of
them of an ironic character. And these are usually subtler than those of Henry Fielding, for
instance, who has been generally viewed as the much-acclaimed paradigm of the ironic
omniscient narrator. Austen is more sophisticated than run-of-the-mill ironists. Austen’s
irony emerges also in narratorial (authorial) comment, which, at times, assumes an
aphoristic character.

Here is a comment from Emma (1815)which belongs to a similar context to that of the
previous example. It refers to the vicar Mr. Elton, who, sometime after his failure to win the
hand of Emma Woodhouse, comes back to the village of Highbury, now engaged to another
woman: “Human nature is so well disposed towards those who are in interesting situations,
that a young person, who either marriesordies , is sure of being kindly spoken of”. This
ironic comment is so intricate that the classical definition of irony does not suffice.
The most famous and at the same time perhaps the most complex instance of Austen’s
narratorial irony is the aphoristic sentence that opens Pride and Prejudice: “It is a truth
universally acknowledged, that a single man in possession of a good fortune, must be in
want of a wife” (1973, 3).
Many critics maintain that the irony of this statement is established via the contexts.
In Jane Austen’s opening sentence there is only one proposition that contains a
contradiction. The aphorism, or rather, maxim is heralded as a universal truth, yet the
proposition is narrowed down to a very concrete case, namely that a rich unmarried man
must be looking for a wife. What is introduced as a questio infinita, an infinite question,
turns out to be a quaestio finita, a finite question. The way Austen deals with the form of
the maxim is ironic, and the reader must perform a cognitive act to understand the irony.
He or she must understand that what Austen presents as a maxim is only apparently a
maxim. It is a maxim that does not express an universal truth but refers to a very concrete
situation. To apply the echoic mention theory to this example, the sentence refers to a
preformed genre, that of the maxim, which it ironically subverts. A maxim is a concise,
pointed, and easily remembered statement that purports to reveal a general truth or
principle. Austen explicitly refers to this rhetorical device by echoing the verbal form of the
genre in “a truth universally acknowledged.” Yet she limits its general applicability to a very
specific situation, thus ironizing it. Additionally, the irony of the maxim is intensified by the
volition attributed to the rich unmarried man “must be in want of.” This introduces
something of a bias to the maxim. Who in fact knows that a wealthy man is in want of a
wife? Rich men may have other interests. Austen’s ironic maxim provides a key to the
novel’s plot, which is concerned with the need for the daughters of a genteel family to find
well-off husbands. The irony of the opening of the novel sets the tone for some of the
ironies of the whole.
Another instance of authorial irony that I wish to discuss is to be found in the marriage
proposal at the end of Austen’s Emma. This is the novel’s emotional cli-max, the moment
when Knightley, who has had his emotions so much under control all through the novel,
calls Emma “my dearest, most beloved Emma,” and she is “almost ready to sink under the
agitation of this moment”. In the discussion of Austen’s narrative art and her use of irony, a
distinction must be drawn between the representation of spoken language and interior
language. It is highly interesting – though hardly ever recognized by critics that Jane Austen
avoids rendering the spoken words of her protagonists, who are invariably female, in free
indirect discourse, while their thoughts are frequently conveyed in free indirect form.
Conversely, the thoughts of her minor characters and practically all of the male characters
are, if they are represented at all, usually rendered not in free indirect discourse, while their
spoken words are frequently conveyed in the free indirect form. There is no room to go into
the intricacies of this important aspect of Austen’s narrative art more explicitly, point has to
be emphasized, namely that the consequence of Austen’s artistic decision is to privilege
female consciousness. Austen hardly ever gives us insight into male consciousness.
Emma:-

The narrator introduces Emma to us by emphasizing her good fortune: “handsome, clever,
and rich, with a comfortable home and happy disposition,” Emma “had lived nearly twenty-
one years in the world with very little to distress or vexes her.” But, the narrator warns us,
Emma possesses “the power of having rather too much her own way, and a disposition to
think a little too well of herself.” Emma’s stubbornness and vanity produce many of the
novel’s conflicts, as Emma struggles to develop emotionally.
At first Emma seems to be a meddlesome and conceited young woman who uses her
natural cleverness to amuse her own active imagination, allowing, as Tony Tanner says, “her
conceptions to interfere with her vision.” At first “she is in fact ‘blind and ignorant’” to any
harmful consequences of using her gifts, and it takes her “some time to realise this” (197).
The process she undergoes reveals Emma Woodhouse to be a creature of surprising depth,
who offers us as much insight as any of Austen’s serious characters (Jenkyns 170). When
the novel begins, she can hear her conscience—her “‘serious spirit’” (330)—but her vanity
blinds her to the consequences of disobeying it until she has made a mistake. Yet it is never
silent, and Austen puts Emma through a number of mortifying and painful situations so that
she can learn the importance of listening to that serious spirit to gain self-knowledge and to
be reformed into a conscientious young woman. Austen gives us Emma’s “unavoidable and
significant encounter with the reality principle—or, things as they are” (Tanner 188), and
Emma learns from it, growing into a heroine whom readers can admire.
Emma makes three major mistakes. First, she attempts to make Harriet into the wife of a
gentleman, when Harriet’s social position dictates that she would be better suited to the
farmer who loves her. Then, she flirts with Frank Churchill even though she does not care
for him, making unfair comments about Jane Fairfax along the way. Most important, she
does not realize that, rather than being committed to staying single (as she always claims),
she is in love with and wants to marry Mr. Knightley. Though these mistakes seriously
threaten Harriet’s happiness, cause Emma embarrassment, and create obstacles to Emma’s
own achievement of true love, none of them has lasting consequences. Throughout the
novel, Knightley corrects and guides Emma; in marrying Knightley, Emma signals that her
judgment has aligned with his.

Austen predicted that Emma would be “a character whom no one but me will much like.”
Though most of Austen’s readers have proven her wrong, her narration creates many
ambiguities. The novel is narrated using free indirect discourse, which means that, although
the all-knowing narrator speaks in the third person, she often relates things from Emma’s
point of view and describes things in language we might imagine Emma using. This style of
narration creates a complex mixture of sympathy with Emma and ironic judgment on her
behaviour. It is not always clear when we are to share Emma’s perceptions and when we are
to see through them. Nor do we know how harshly Austen expects us to judge Emma’s
behaviour. Though this narrative strategy creates problems of interpretation for the reader,
it makes Emma a richly multidimensional character.
The development of Emma’s character to becoming a virtuous person can be seen through
three major events, which occur in the novel. Initially, we see how Emma is determined to
improve Harriet’s position in life. Emma takes on this task because she feels lonely and she
has no one with whom she can share her interests. Furthermore, she “has a disposition to
think a little too well of herself.” Emma feels that she has the right to judge Harriet as well
as converting her in to the person she would normally associate. This is made apparent
when Austen uses the word “she” repeatedly: “She would notice her, she would improve
her, she would detach her from bad acquaintance and introduce her into good society, she
would improve her opinions and manners.”

Emma is socially prejudiced against Mr. Martin and assumes that because he is poor, he is
ultimately a “bad acquaintance”. She has a pitiful attitude towards those from an inferior
social background. This is demonstrated when she convinces Harriet to refuse Mr. Martin’s
marriage proposal through exclamatory tone: “Ought to refuse him! My dear Harriet what
do you mean? Are you in any doubt as to that.”

Emma hates being wrong, but more importantly she does not like others recognizing her
weakness. She is aware that Mr. Martin is intelligent, which is illustrated through her
surprise that he is able to express himself fluently in a letter. However, she finds it difficult
to take back her criticism and confess that she made a mistake and instead manipulates
Harriet to accept her viewpoint: “ I think one of the sisters must have helped him. I can
hardly imagine the man I saw talking with you the other day could express himself so well.”
She is aware that Harriet will automatically assume her advice to be correct because she is
socially superior and would thus be a better judge of character.

Emma’s self-centred nature is noted when she is determined to arrange a match between
Harriet and Mr. Elton, in order to attain credit for playing cupid. There is a level of hypocrisy
that surrounds the matchmaking saga. Emma expects Mr. Elton to degrade himself to
Harriet’s social rank; yet when he proposes to Emma instead, she is furious that he “should
suppose himself her equal in connection and rank.” Emma is proved wrong when he denies
any affection for Harriet. Emma begins to realize how her meddling is an “evil act”. She
becomes aware that by interfering in Harriet’s lifestyle she has inflicted a lot of pain as she
has raised her friend’s hopes in vain. Despite becoming conscious of her misplaced actions,
Emma does not sincerely repent for taking advantage of Harriet’s vulnerability. This is seen
when she analyses Mr. Elton’s actions, tries ease her guilt and defend her motives: “His
manners, however, must have been unmarked, unwavering or how could she have been so
misled”.
Mr. Knightley disapproves of Emma’s influence on Harriet. He is rather frank is stating that
Emma has “been no friend to Miss Harriet Smith.” Emma disregards Mr. Knightley’s advice
because she is absorbed in controlling Harriet’s life. It appears that she derives pleasure in
controlling Harriet’s thought process. Evidence of her subsequent humility is when she
heeds the advice of Mr. Knightley. He points out her offensive attitude towards Mrs. Bates.
Emma reflects upon her own behaviour: “How could she have been so brutal, so cruel to
Miss Bates.”
The third and final ironic incident, which determines Emma’s transformation, is when
Harriet tells her that she is on love with Mr. Knightley. Mr. Knightley had warned Emma
that Harriet’s expectations would rise. Emma’s shame and remorse becomes far more
evident because she makes no more excuses for her wrong doings. Partly, this is due to her
vested interest in Mr. Knightley. She is aware that if Mr. Knightley accepts Harriet’s
advances then she would be at fault. Emma finally understands not to be selfish and
meddle in other people’s emotions. This understanding comes from being in love herself
and observing Harriet’s love life flourish with a person she felt was unsuitable.
Emma’s intentions are not malicious she is merely entertaining herself. Emma finally
appreciates the consequence of her actions and repents. However, this moral makeover
only takes place as a result of Mr. Knightley’s intervention. Mr. Knightley assists Emma’s
transformation by pointing out her misguided actions. It is his love for her, his seniority and
wisdom that aid her to become moral. In Emma, Austen has used a man of age to point out
how to have moral character as a woman.

Harriet Smith:-

The pretty but dull young woman whom Emma adopts as a sort of remodelling project. She
is a boarder at Mrs. Goddard's, but her parentage is unknown. Emma thinks she must be
from an aristocratic family, and soon Harriet believes this lie. Emma wants to improve her
friend, and though she has good intentions, this elevation hurts Harriet. She refuses a
proposal from Mr. Martin, whom Emma believes to be too low-class. Then Emma
encourages her to set her sights on Mr. Elton. But the preacher falls in love with Emma,
scorning Harriet as too low class. After this disaster, Emma tries to leave Harriet's love life
alone. But two things happen to Harriet--she is saved by Mr. Knightley one day, Mr.
Churchill the next. At the Crown Inn dance, when Mr. Elton refuses to dance with Harriet,
Mr. Knightley comes along and asks her. Several days later, Mr. Churchill saves Harriet from
some gypsies. Emma is sure Harriet is in love with Frank, so she encourages the girl to hope.
But it is really Mr. Knightley she loves, and Harriet is to be disappointed again when Mr.
Knightley and Emma proclaim their love. But luckily Harriet is not distressed, because Mr.
Martin has proposed to her again, and she has accepted. Often indecisive, in the absence of
Miss Woodhouse Harriet was able to make the best decision of her life.
the Martin family is the family of farmers who befriend Harriet. She spends several months
with them before she meets Miss Woodhouse, and she and Mr. Martin grow to like each
other. But after hearing Miss Woodhouse's opinions on his status, Harriet treats the family
badly and refuses Mr. Martin's proposal. She stops visiting, and when she does, it is
considered an insult. They are forgiving, however; the daughter Elizabeth breaks the ice, and
Mr. Martin eventually proposes again. The second time he is accepted.
Mr. Martin is the farmer who loves Harriet. He proposes to her twice, he loves her so much.
Emma thinks him too low class, but Harriet finally decides to marry him, and it is considered
a good match
It is evident that Harriet’s miseducation builds upon her experiences with Emma and
eventually teaches her to develop inaccurate perspectives of herself and of others without
Emma’s help. This can be seen, for example, when Harriet claims Mr. Knightley’s mutual
affection for her and defends her beliefs with evidence. Emma’s initial mistake with Mr.
Elton lies in her misreading of his “manners” towards Harriet and herself. Harriet appears to
learn from this experience, and only falls in love with Mr. Knightley when she is confident in
supposed proof of his love for her. Harriet’s confidence in Mr. Knightley’s returned affection
reflects her confidence in herself and her own misguided perceptions; for example, when
Harriet admits her affection, Emma asks “have you any idea of Mr. Knightley's returning
your affection?” to which the narration describes Harriet commenting: “‘Yes,’ replies]
Harriet modestly, but not fearfully—‘I must say that I have’”. Emma’s misunderstanding of
Harriet’s feelings demonstrates the way her miseducation has taught her to only fall in love
with assurance, yet also to mistakenly read Mr. Knightley’s actions and words in the same
way Emma had previously misread Mr. Elton. Harriet furthermore speaks “not fearfully,”
which contrasts with her initial introduction as a submissive, demure girl. This demonstrates
the growth of her confidence, despite its misplacement.

Emma’s miseducation thus does ironically help Harriet gain confidence; her recognition of
Emma’s misguidance furthermore allows Harriet to teach herself to value her own beliefs
and desires.

Harriet thus ends the novel married to the man she originally loved, as well as solidified in
society as her “parentage become known. She proved to be the daughter of a tradesman,
rich enough to afford her the comfortable maintenance which had ever been her’s, and
decent enough to have always wished for concealment”

Some may argue that Harriet’s ascendance into society and wealth refutes a reading of her
character as affirming the value of lower-class women, yet it is evident that despite Harriet’s
newfound wealth and status, she continues to see Robert Martin’s merit and upholds her
original decision to choose him as a husband. The restoration of Harriet to society as well as
her marriage to Robert Martin may then be read as reflections of her restored value in
herself and others. The affirmation of Harriet’s original desires and her newfound
confidence to fulfil them demonstrates the importance of both confidence and perspective
to womanhood despite class.
Harriet’s character may be read as a positive affirmation of women beyond all social classes,
and an example of the necessity of both confidence and proper perception to the
development of female characters in Emma..
Jane Fairfax:-

Jane Fairfax is a major character in Emma. She is the only person whom Emma
Woodhouse envies due to her accomplishments and beauty. She marries Frank
Churchill after a long and secret engagement.

Jane Fairfax is an orphan who grew up away from her maternal aunt, Miss Bates, and
grandmother, Mrs. Bates, but they were always excited to hear of her accomplishments as
she aged. They read each of her letters many times—40 according to Emma, although that is
assumed to be an exaggeration—at tea with Henry and Emma Woodhouse. As such, the
idea of Jane Fairfax tired Emma to death.

Jane is an orphan whose only family consists of an aunt, Miss Bates, and a
grandmother, Mrs. Bates, is regarded as a very beautiful, clever, and elegant woman, with
the best of manners, and is also very well-educated and exceptionally talented at singing
and playing the piano; in fact, she is the sole person whom Emma envies. She has little
fortune, however, and seems destined to become a governess – a prospect she dislikes.

Jane Fairfax serves the role as Emma's rival, and possibly a second heroine in the novel.
Jane’s beauty and accomplishment immediately make her stand out, but we are likely to
follow Emma’s lead at first and judge Jane uninteresting on account of her reserve. As Jane
gradually betrays more personality and emotion, she indicates that she harbours some
secret sorrow. Eventually, she and Emma push the cloudy confusion behind and become
friends. The contrast between Jane’s delicate sense of propriety and morality and the
passionate nature of her feelings is much more dramatic than any of the conflicts that
Emma experiences. Jane’s situation too is much more dire than Emma’s: if Jane does not
wed, she must become a governess, because she lacks any money of her own. The
revelation of Jane’s secret engagement to Frank makes Jane seem more human, just as
Knightley’s humanity is brought out by his love for Emma

Mr. Elton:-

The vicar of Highbury, a handsome and agreeable man considered a welcome addition to
any social gathering. When he reveals his indifference to Harriet and his desire to marry
Emma, only to take a bride at Bath shortly thereafter, he comes to seem proud, conceited,
and superficial. Emma expresses an excellent opinion about him in the course of her
conversation with her father, and her father agrees with her, saying: “Mr. Elton is a very
pretty young man to be sure, and a very good young man and I have a great regard for him”.
Emma thinks him to be “a remarkably handsome young man, with most agreeable
manners”. She also thinks that Mr. Elton would surely fall in love with Harriet; she feels
strengthened in this belief because he often talks of Harriet and praises her warmly. “When
Mr. Elton offers to go to London in order to get Harriet’s portrait farmed, it seems to Emma
that he is definitely in love with Harriet now.
But Mr. Knightley has, however, a different opinion of Mr. Elton from that held by Emma.
Mr. Knightley thinks Mr. Elton to be a worldly-wise man who would marry for money and
not solely foe merit. Mr. Elton really proves to be a worldly-wise man because, while Emma
thinks him to be a possible husband for Harriet, he himself has been harbouring an ambition
to marry Emma herself. While returning from Randalls in a carriage in the company of
Emma, Mr. Elton surprises her by making an ardent declaration of love and saying that he
would be ready to die if Emma refuses him. After his rejection by Emma, Mr. Elton goes to
Bath for a holiday and there gets engaged to Miss Augusta Hawkins. Mr. Elton is happy to be
engaged to a woman who will bring him a dowry of ten thousand pounds.

Mr. Elton proves himself to be a mean fellow when he insults Harriet Smith on the occasion
of the ball that is held at the Crown Inn, the hosts being Mr. and Mrs. Weston. Mr. Elton
finds himself perfectly happy with his wife. There is a complete harmony and understanding
between the two of them. Emma is much perturbed by the low action of Mr. Elton. She had
been thinking him to be an amiable, obliging gentleman, but he has proved to be mean.
Mrs. Elton is by no means a woman whom we would admire. Emma forms an unfavourable
opinion about this lady at the very outset. This is how Emma’s first reaction to her is
described: “She was good enough for Mr. Elton, no doubt; accomplished enough for
Highbury _handsome enough to look plain, probably, by Harriet’s superior: “She brought no
name, no blood, no alliance”. Mrs. Elton is the daughter of a merchant, and so Emma does
not think highly of Mrs. Elton’s family background.

Frank Churchill:-

Frank Churchill is one of the dominant characters in Jane Austen’s ‘Emma’ despite the fact
that he is not fully introduced until chapter twenty-three. Each of the characters in ‘Emma’
play a role in delivering Austen’s personal comments on the society of that time. The
purpose of Frank’s character is to highlight Austen’s views that people should not be judged
by appearances alone and his relationship with Emma shows the consequences of being too
prejudiced to judge someone’s character accurately.
He is the first child of Mr. Weston, formerly known as Captain Weston, and his first
wife, Mrs. Weston of the Churchill family. His mother died three years after her marriage to
Captain Weston, so Frank never really knew her. His uncle, Mr. Churchill, had no children
and was interested in taking Frank in and giving him a life of promise as a member of the
wealthy Churchill family. Captain Weston let him go, and Frank's name was changed from
Weston to Churchill. While he was raised by his maternal uncle, his father quit the militia
and earned his own fortune in trade. He entered into a secret engagement with Jane
Fairfax, and went to great lengths to keep it hidden. There was often talk of coming to see
his father but it was never really achieved, even though he was one of the boasts
of Highbury. Once it became news that his father would marry again, a visit was most surely
proper, and all the what it should take place, including Mrs. Perry, and Mrs. and Miss Bates.
Frank even wrote his new mother a letter that was talked about very favourably among the
villagers.
“Mr. Frank Churchill was one of the boasts of Highbury, and a lively curiosity to see him
prevailed, though the compliment was so little returned that he had never been there in
his life. His coming to visit his father had been often talked of but never achieved.”

When Frank Churchill comes to Highbury and Emma meets him at the Parlour, she finds
him very likeable.
“The Frank Churchill so long talked of, so high in interest, was actually before her -- he was
presented to her, and she did not think too much had been said in his praise; he was a
very good looking young man; height, air, address, all were unexceptionable, and his
countenance had a great deal of the spirit and liveliness of his father's; he looked quick
and sensible. She felt immediately that she should like him; and there was a well-bred
ease of manner, and a readiness to talk, which convinced her that he came intending to be
acquainted with her, and that acquainted they soon must be.”

But later when she comes to know him further he disappoint her a lot.
Emma's very good opinion of Frank Churchill was a little shaken the following day, by
hearing that he was gone off to London, merely to have his hair cut. A sudden freak
seemed to have seized him at breakfast, and he had sent for a chaise and set off,
intending to return to dinner, but with no more important view that appeared than
having his hair cut. There was certainly no harm in his travelling sixteen miles twice over
on such an errand; but there was an air of foppery and nonsense in it which she could not
approve. It did not accord with the rationality of plan, the moderation in expense, or even
the unselfish warmth of heart which she had believed herself to discern in him
yesterday. Vanity, extravagance, love of change, restlessness of temper, which must be
doing something, good or bad; heedlessness as to the pleasure of his father and Mrs.
Weston, indifference as to how his conduct might appear in general; he became liable to
all these charges. His father only called him a coxcomb, and thought it a very good story;
but that Mrs. Weston did not like it, was clear enough, by her passing it over as quickly as
possible, and making no other comment than that "all young people would have their
little whims."
Mr. Knightley observes Frank as

“This gallant young man, who seemed to love without feeling, and to recommend himself
without complaisance”
Mr. Frank Churchill is summed up nicely by Mr. Knightley as, “…a most fortunate
man…Everything turns out for his good.-He meets with a young woman at a watering-place,
gains her affection, cannot even weary her by negligent treatment…His aunt is in the way. –
His aunt dies. – He has used everybody ill-and they are delighted to forgive him."
Mr. Churchill is the most gallant of all the men in Emma, and he is a trickster. He is also the
only other man Emma slightly considers for courtship, besides Mr. Knightley. Eventually
Emma determines that she doesn't really want to be with him, but only after fantasizing
about how their relationship would end, and some sage words from her father, Mr.
Woodhouse.

Frank epitomizes attractiveness in speech, manner, and appearance. He goes out of his way
to please everyone, and, while the more perceptive characters question his seriousness,
everyone except Knightley is charmed enough to be willing to indulge him. Frank is the
character who most resembles Emma, a connection she points out at the novel’s close when
she states that “destiny … connect[s] us with two characters so much superior to our own.”
Like Emma, Frank develops over the course of the novel by trading a somewhat vain and
superficial perspective on the world for the seriousness brought on by the experience of
genuine suffering and love.

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