Rhetorical Devices In Jane Austen's Emma

This article analyzes the way Austen portrays women in her novels. Kruger mentions that Jane Austen’s work is often deprived by the

Marriage, a broad theme in this book, can be broken down throughout. Emma’s sister has gone off after getting married and left her alone. After her sister’s marriage, Emma proclaimed that she was not destined for love and made herself the town’s unofficial matchmaker. The entire novel is built around relationships and matchmaking, with Emma and Mr. Knightly, Harriet and Robert Martin/ Elton, and Jane Fairfax and Frank Churchill.

Compare or contrast the role that reason (logic or logos) and passion (emotion or pathos) play within the novel.

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.

Jane Austen’s ideas differed with the patriarchal system of her times. She elicited feminist concepts to contradict of the patriarchal structure; Emma’s first determined not to marry. When Harriet once asked why Emma never thought about marriage, she replied that most women were married because of insufficiently social ranking or money. She certainly had all of these privileges, so she won’t

She is met with Elton’s indignant reply, “Don’t you even know who my father is?”, his shocked tone and rhetorical question emphasises the nonsensical nature of her remark, emulating the social rift between himself and Tai. Elton distances himself from Tai by emphasising his superior status, and reflects upon the contextual importance of adherence to social distinctions when forging relationships, a similarity shared in Emma. In contrast to Clueless is the rigidity of social class in Emma’s time, in which there is a strong regard for birthright, wealth and mannerisms. In chapter 10, Emma says, “A single woman, with a very narrow income, must be a ridiculous, disagreeable, old maid! ...but a single woman, of good fortune, is always respectable”. A poor, unmarried woman is described as an “old maid”, whereas her wealthy counterpart is “always respectable”. These double standards between single women of high and poor economic status exemplifies the importance of wealth in determining respectability within Austen’s context. Evidently, social hierarchy are strong social values upheld in both contexts, with relationships and societal norms dependent upon an individual’s social class.

“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.

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.

Examine Austen’s presentation of what is called in the novel, ‘women’s usual occupations of eye, and hand, and mind’. In Jane Austen’s society, the role of women was controlled by what was expected of them. In most cases, marriage was not for love, and was considered as a business arrangement, in which both partners could gain status and financial reassurance. Though Austen opposed the idea of none affectionate marriage, many

Austen has set out to save the rising art form of the novel. In this address to the reader she glorifies what a novel should be: the unrestrained expression of words conveying the wide range of raw human emotion. This veneration of the novel is necessary to the development of Catherine's fiction-loving character as it justifies the narrator's right to remain fond of this flawed heroine.

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

Mary Poovey’s “The True English Style” is an easy to follow analysis of the themes and philosophical difference between marriage and love, particularly in the regency era, from Jane Austen’s novel Emma. Immediately Poovey states her thesis which does away with a presentism reading and discuss social/moral issues in the era of Jane Austen also known as the regency era.

(Austen 1). Having a conceited nature, she only tolerates following her own advice, as well as frequently acting upon her instincts regardless of the consequences, especially when it comes to match-making. Emma believes that she is able to match any two people whom she deems compatible. Even though Emma is self centered, she ironically refuses to tend to her own feelings. Speaking to her father Emma states, “I promise you to make none for myself, papa; but I must, indeed, for other people.

Marriage has no always been about the love and happiness two people bring eachother; instead it was concidered to be more of a business transaction. Emma by Jane Austen takes place during the early twentieth century, this time period was completly absorabed in social classes and had a much different view on marriage than today. Through the young, bold, wealthy, and beautiful character Emma Woodhouse, Jane Austen exposes the protocol of marriage as well as the effects marriage held based on social standing during the early twentieth centuery.

She uses this unspecified person, who is outside of all the novel's action and gives explanations, as a medium of communication to present her own opinion in an allusively open way. This narrator is the first means of making ironic remarks. Through the narrator a certain mood is created that prevails throughout the novel. The very first sentence of the novel shows this with the following sentence, It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife (Pride and Prejudice, p. 3). The irony of this statement is the universal validity with which assumptions are made in that upper-class society. It is assumed that there is nothing else for a man of high rank to want but a wife to complete his possessions. Along with his money, land, riches etc. she acts as nothing more but another piece of property, which was a common attitude in those days. Austen manages to make the attitude towards matrimony upheld by this upper class look rather ridiculous and incredible. Another ironic description is given, for instance, when Miss Bingley and Mrs. Hurst take care of the sick Jane, who stays at their house. They present themselves as very affectionate and caring friends to Jane. However, that does not stop them from talking very bad about Jane's relations. The real ironic comment is that the