In Jane Austen's "Emma", the characterization of the titular protagonist overshadows that of the deurotagonist, Harriet. Whereas Harriet's traits are directly described to be traits that any other person could easily possess as well, Emma is indirectly characterized by her uniqueness, in the sense that she shares a strong bond with Harriet, and knows much about her that others do not. Specifically, via targeted diction, the inclusion and/or omission of important detail, syntax, and point of view, Austen establishes the position of her central protagonist, and evaluates her from her own perspective in the context of the novel.
Diction contributes inseparably to the characterization of both Emma and Harriet, and hence Austen's prioritization of the character traits of Emma. In paragraph one, Emma is described as "[knowing Harriet] very well by sight", and having "long felt an interest in [her] on account of her beauty". Thus, it follows that Emma has long admired and taken an interest in Harriet, which implies a strong connection between the two. Though Emma herself is not described in exhaustive detail, all of Harriet's traits transfer over to her, as well as her own details that add to her personal character. From paragraph two onward, the author …show more content…
Though the characterizations of both Emma and Harriet are undoubtedly crucial to the development of meaning and purpose in the passage, that of Emma assumes greater importance and overall relevance, due to the narrator's seemingly direct ties with Emma as opposed to Harriet, the distinct division of the paragraphs accordingly with their emphases of Emma's and Harriet's internal and external traits, the inclusion of detail regarding Emma's passions and the exclusion of detail regarding Harriet's background, other than the fact that she has had unfavorable acquaintances in the past, and the specific diction used to establish tone in characterizing Emma's fervent desire to influence Harriet's views of
Jane Austen is often considered to have one of the most compelling narrative voices in literature. Blurring the line between third and first person, Austen often combines the thoughts of the narrator with the feelings and muses of the focalized character. Emma is perhaps her most prominent example of free indirect discourse, where the narrator’s voice is often diffused into that of the characters. In the following passage, Emma takes on her role at match-maker between Mr. Elton and Harriet Smith, two naïve and somewhat air-headed characters in the novel.
Throughout the first chapter, Emma and her father mourn Miss Taylor’s absence, and this slowly transmutes into a central conflict, as Austen states that Mr. Woodhouse has difficulty comprehending the notion that Miss Taylor could be more content with her new life that contrasts so greatly from the years she spent in his illustrious house. Emma mentions the prospect of visiting Miss Taylor and Mr. Weston frequently; this foreshadows a potential conflict in which Emma and her father attempt to quell their woes by interfering with Mr. Weston’s and Miss Taylor’s life. This attempt at foreshadowing is exacerbated through an encounter between the Woodhouses and Mr. Knightley, her brother-in-law. Mr. Knightley reprimand’s Emma’s superstitious ability to matchmake and dictate relationships. This gravitation toward other individuals’ affairs will likely permeate the entire novel.
A typical Austen heroine has main obstacles where they need to overcome their social status but for Emma, she is already a woman who is placed in high regard. The novel begins "Emma Woodhouse, handsome, clever, and rich,” (1 Emma). Emma is a woman who seems to be born to be a heroine. She is handsome, clever and rich. She has the characteristics of a
Jane Austen’s novel 'Emma' and Amy Heckerling’s Clueless, as significant and satirical reflections of Regency England and postmodern America respectively, indicate how the transformation process can shape and improve literacy, intertextual and logical importance. The transformation is evident in the compositions Jane Austen’s ‘Emma’ and Amy Heckerling’s ‘Clueless’ enabling us to investigate the assortment of logical subjects. Regarding ‘Emma’ the perspective throughout the Regency time frame examines the strict values of love and marriage inside the inflexible social hierarchy. Austen’s advances the significance of etiquette throughout the text. Austen reveals a neo-women’s activist perspective, shown in the female protagonist revealing the female protagonists’ scholarly capacity and social equity in an otherwise patriarchal society. However, the close resemblance of the story; ‘Clueless’, Heckerling composition conveys entirely transformed values, reflected through the actions of the current upper-working class of contemporary Los Angeles. The critical analysis of commercialism in the informal social class system of modern America reiterating social expectations of gender and social characterisation within the microcosm of the typical American educational system. The transformation in attitudes of Austen, reveals an exhaustive utilisation of setting, a close examination of dialect and various artistic procedure.
In eighteenth century which feminist in social status was not popular by that time, author can only through literature to express her thought and discontented about society. Jane Austen’s Emma advocates a concept about the equality of men and women. Also satirizes women would depend on marriage in exchange to make a living or money in that era. By the effect of society bourgeois, Emma has little self-arrogant. She is a middle class that everyone could admire, “Young, pretty, rich and clever”, she has whatever she needs. She disdains to have friends with lower levels. However, she is soon reach satisfaction with matchmaking for her friend. Story characterizes a distorted society images and the superiority of higher class status. It
“Emma could not resist. Ah! Ma’am but there may be a difficulty. Pardon me- but you will be limited as to number- only three at once”; Emma insults Miss Bates, who is a dear friend, in order to quench her desire for social credit. When Mr Martin’s proposal arrives for Harriet, Emma shakes her head with disdain. Emma has the highest social status, apart from Knightley, and uses this to diminish those of lower class. Chapone asks us to “Observe her manner to servants and inferiors” and whether she treats “them always with affability”, but we know, Emma does not. Emma thinks Mr Martin is a “very inferior creature” and when Harriet asks for advice Emma says “the letter had much better be all your own” but sneaks in “You need not to be prompted to write the appearance of sorrow for his disappointment”. Harriet refuses Martin, and Emma proclaims that Harriet, if she accepted, would have been “confined to the society of the illiterate and vulgar” and “could not have visited Mrs. Robert Martin” since she deems the lower class as unsophisticated primitives. Emma would have lost her latest amusement and her chance to prove her intelligence. Emma’s subtle manipulations illustrates the absence of inner morality, and is thus, an ill-qualified mentor.
Austen further instigates these thoughts into the reader’s minds as she expounds in the chapter about how Mr. Elton fails to inquire more about Harriet, and still goes out to the party without her or a second thought. Textually, this is supported by Emma’s narration, as she is shown thinking it strange that Mr. Elton would leave Harriet behind. Accompanied by the thought, is an after thought of Emma’s where she excuses a single man like Mr. Elton’s blatant disregard for Harriet by thinking, “...such a passion for dining out; a dinner engagement is so high in the class of their
Harriet is in love with Robert Martin, but Emma tells her it is inappropriate to like him, and so, Harriet attempts to keep Emma’s respect and breaks relations with Robert Martin. Emma tries to make Harriet a match with Mr. Elton, who is madly in love with Emma; also with Mr. Frank Churchill, who married Jane and flirted with Emma. Finally, Harriet thought she had fallen in love with Mr. Knightly after she felt completely detached from Mr. Elton. And by the end of the novel, Emma realized and professed her love for Mr. Knightly and they married. Then, Harriet parted from Emma and sought Robert Martin’s offer for marriage. Essentially, throughout the novel, Emma matures from a clever young woman to a more modest and considerate woman.
Emma can make the reader sympathize with her. She is the only person in the novel who actually decides to make over another character in her own image, but she’s not alone in being constrained by ego. And so it was with Jane Austen as person and novelist. To establish a connection between her art and classicism viewed as measure and balance is al- most to belabor the obvious. Nor is it necessary to prove a direct relationship of study and influence. It is enough to see that Jane intuitively understood the rules,
Jane Austen presents her characters in a unique way. At the beginning of each chapter she either introduces a new character with a long paragraph containing a little bit of background information or she begins a chapter with a paragraph by giving the reader more information on a previously introduced character. Austen's characterization technique is useful, however, it can become hard to follow because she has so many characters in Pride and Prejudice. Jane Austen's characterization is effective to the way she introduces her main characters and not quite as effective while introducing a supporting character.
In the novel, Jane Austen also states that "The real evils indeed of Emma's situation were the power of having rather too much her own way, and a disposition to think a little too well of herself."
In Austen’s times, social hierarchy was based primarily on one's name, wealth, and family connections. It was highly rigid, and the only way to improve one's situation was to marry up. This was reflected by the fact that while Harriet is deemed to be good company, she is never considered by anyone to be on the same social standing. So by manipulating her to refuse Mr. Martin’s proposal, Emma is doing her friend a huge disservice, for as “the natural daughter of somebody”, Harriet had no better option. Austen critiques the superficiality of the class system by contrasting the views of Mr. Knightley with those of Emma. Knightley deems Mr. Martin an “intelligent, respectable gentleman-farmer”, making an evaluation of his character. Emma, however, always sees a person’s status first and makes a judgment of character around that – and so she is immediately disapproving of Mr
Emma, is the story of the education and growth process of Emma. Throughout majority of the novel, Emma involves herself in bad situations in which she misconstrues facts and blinds herself from the truth, at the expense of others. After Emma has discovered that she has been terribly wrong about Mr. Elton, and she was mistaken to encourage Harriet's affection of him, Emma says, "It was foolish, it was wrong to take so active a part in bringing two people together, it was adventuring too far, assuming too much, making light of what ought to be serious- a trick of what ought to be simple!." Emma
Though at first glance, Emma appears to be a generic romantic novel about virtue and ladyhood, Austen actually challenges what the meaning of “ladyhood” is to the reader. We view Emma’s follies, trials, and triumphs through the eyes of the omnipotent narrator who first describes Emma as a stereotypical, wealthy young lady who is “handsome, clever…with…a happy disposition” (1). Through the use of irony, Austen employs a series of situations in which Emma, a “lady” of high standing within her community, challenges conventional thinking of what it means to be a young woman in the early nineteenth century, particularly her ideas concerning marriage and