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Joan Aiken wrote a companion novel, Jane Fairfax: The Secret Story of the Second Heroine in Jane Austen's Emma. [92] Alexander McCall Smith wrote a detective version, titled Emma: A Modern Retelling (2014), [93] as part of HarperCollins' six volume Austen Project. [94]
- Jane Austen
- 1815
- Overview
- Plot summary
- Analysis and interpretation
- Publication and reception
- Legacy
Emma, fourth novel by Jane Austen, published in three volumes in 1815. Set in Highbury, England, in the early 19th century, the novel centres on Emma Woodhouse, a precocious young woman whose misplaced confidence in her matchmaking abilities occasions several romantic misadventures.
Emma’s introduction of the character Emma Woodhouse is among the most famous in the history of fiction. According to the narrator:
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Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her.
The force of the verb seemed is pointed. Emma is indeed beautiful, wealthy, and smart. However, she is also spoiled, meddlesome, and self-deluded. Although she is convinced she will never marry, Emma believes she is an excellent matchmaker. As she tells her father and her dear friend Mr. Knightley, she practically arranged the recent marriage between her former governess, Miss Taylor, and the widower Mr. Weston. (She did, after all, introduce them.) After such a clear “success,” Emma is determined to make another match. This time, she has set her sights on the village vicar, Mr. Elton. Both Emma’s father and Mr. Knightley caution her against interfering, but they ultimately fail to dissuade her.
Shortly thereafter, Emma befriends Harriet Smith, a 17-year-old student at a local boarding school. Harriet’s parentage is unknown; she is “the natural daughter of somebody” who many years ago placed her in the care of the school’s headmistress, Mrs. Goddard. Despite the obscurity of her birth and her perceived inferior social status, Emma decides that Harriet is a perfect match for Mr. Elton. Emma sets about improving her friend, first, by discouraging her interest in Robert Martin, a young farmer whose family is renting land from Mr. Knightley. Harriet clearly has feelings for Robert (and Robert for her). Emma convinces her otherwise; she tells Harriet that Robert is beneath her. When Robert writes a letter asking for her hand in marriage, Harriet, with Emma’s counsel, refuses him.
Marriage and social status are the two foci of Emma. Most of the drama in Austen’s novel revolves around who loves whom and what that means, given their social station. Social status in 19th-century England was determined by a confluence of factors, including, but not limited to, family name, sex, birthright, reputation, and wealth, and it dictated much about the course of a person’s life. Members of the higher social classes were not expected to intermarry, let alone interact, with members of a lower class. In fact, in some cases, such marriages were considered inappropriate.
Through Emma, Austen subtly satirizes her society’s obsession with social distinctions. At the beginning of the novel, Austen’s heroine is confident she knows who “the chosen and the best” are in Highbury and who constitutes the “second set.” Keeping with her social code, Emma discourages Harriet from pursuing a relationship with Robert. As Emma explains, Robert is not a “gentleman.” He is therefore destined to become “a completely gross, vulgar farmer, totally inattentive to appearances, and thinking of nothing but profit and loss.” Emma is similarly appalled when Mrs. Elton presumes to call Mr. Elton and Mr. Knightley “Mr. E” and “Knightley.”
Mr. Knightley challenges Emma’s notions of class distinction, pushing her to contemplate whether such distinctions truly matter. When Emma criticizes Robert for his ungentlemanly demeanour, Mr. Knightley impassionedly defends Robert, claiming that he “has more true gentility than Harriet Smith could ever understand.” After all her attempts to make suitable matches fail, Emma finally begins to realize that social distinction does not equate to a constitutional difference in character. By the end of the novel, Emma has learned her lesson, and she decides that “[i]t would be a great pleasure to know Robert Martin.”
In terms of its subject matter, Emma was by no means revolutionary: Austen herself described the novel’s subject (“Three or four families in a country village”) as an ideal subject for any novel. However, Emma was revolutionary in terms of its form and style. Before Austen, novelists generally used either first- or third-person narration to tell their stories. Austen combined the two styles, first in Sense and Sensibility (1811) and then again in Emma. From the outset, Austen characterizes Emma as a self-deluded young woman. Austen’s style of narration allows the reader to share in Emma’s delusions:
The longer she considered it, the greater was her sense of expediency. Mr. Elton’s situation was most suitable, quite the gentleman himself, and without low connections; at the same time not of any family that could fairly object to the doubtful birth of Harriet. He had a comfortable home for her, and Emma imagined a very sufficient income; for though the vicarage of Highbury was not large, he was known to have some independent property; and she thought very highly of him as a good-humoured, well-meaning, respectable young man, without any deficiency of useful understanding or knowledge of the world.
Here Austen distinguishes the voice of the third-person narrator from that of the heroine. Using phrases like “quite the gentleman himself” and “a comfortable home for her,” Austen evokes Emma’s consciousness through a type of subjective narration called free indirect discourse. Its intended effect is to close the distance between the reader and the character, thereby helping the reader to see through the character’s eyes. In this passage (and throughout Emma), Austen passes between Emma’s own thought processes and a more straightforward, traditionally third-person narrative voice (“she considered it,” “Emma imagined”).
Austen began writing Emma in January 1814. She finished the novel a little over a year later, in March 1815. In the fall of 1815, Austen submitted Emma to London-based publisher John Murray. Murray offered Austen £450 in return for the copyrights of Emma and two of her previous novels, Sense and Sensibility (1811) and Mansfield Park (1814). Upon receiving his offer, Austen called Murray a “Rogue” and resolved to retain the copyright herself. Murray eventually published Emma on commission, with Austen herself paying for advertising and an initial print run of 2,000 copies. First editions of the three-volume novel hit bookshop shelves in December 1815. Like her previous novels, Emma was published anonymously.
Austen’s novel was received by friends and family members with mixed reviews. In general, they criticized the plot for its lack of action and romantic drama. Contemporary critics expressed more favourable views, praising the authenticity of Austen’s characters and, especially, her heroine. Critics also appreciated Austen’s “amusing” sense of humour. An anonymous reviewer for the Quarterly Review—long believed to be Sir Walter Scott—said of Austen and Emma:
The author’s knowledge of the world, and the peculiar tact with which she presents characters that the reader cannot fail to recognize, reminds us something of the merits of the Flemish school of painting. The subjects are not often elegant, and certainly never grand; but they are finished up to nature, and with a precision which delights the reader.
Irish poet Thomas Moore wrote in a similar vein. He described Emma as “the very perfection of novel-writing.”
Austen did not expect readers to like the protagonist of Emma. About her, Austen famously said, “I’m going to take a heroine whom no one but myself will much like.” Generations of readers have proved Austen wrong. “Handsome, clever and rich,” Emma is undoubtedly one of Austen’s most beloved characters. Modern readers have by and large embraced Emma and her flaws. Feminist critics have identified her as an archetype of the modern woman, whose prospects and future happiness do not depend on marriage.
Austen’s novel continues to be tremendously popular with modern audiences. Emma has been adapted for the stage and screen several times. Notably, in 1995, Clueless was released, a contemporary take starring Alicia Silverstone as Cher (Emma), Paul Rudd as Josh (Mr. Knightley), Brittany Murphy as Tai (Harriet), and Jeremy Sisto as Elton (Mr. Elton). Unlike the original novel, Clueless is set in Beverly Hills, California, in the mid-1990s. The film achieved cult status in the 21st century. Other notable screen adaptations of Emma were released in 1996 and 2009.
With Kate Beckinsale, Bernard Hepton, Mark Strong, Samantha Bond. Faithful, enchanting adaptation of Jane Austen's nineteenth-century tale of Emma Woodhouse--a clever young woman whose mischievous matchmaking schemes nearly end up jeopardizing her own shot at romance.
- (6.2K)
- Comedy, Drama, Romance
- Diarmuid Lawrence
- 1997-02-16
- Amanda Bruce
- Aisha (2010) Directed By Rajshree Ojha. Definitely the least well-known Emma movie adaptation, at least among English-speaking audiences, is 2010's Aisha, a Bollywood production.
- Emma (1996) Directed By Douglas McGrath. Douglas McGrath's Emma (1996) is visual eye candy and one of the most romanticized and syrupy versions of Austen's novel.
- Emma (1996) Directed By Diarmuid Lawrence. The British TV network ITV released its TV movie version around the same time Gwyneth Paltrow's swan-necked Emma was gracing theater screens, and it would later air on A&E in the U.S. This lesser-known version outranks its big-screen competitor by offering a more realistic and dramatic version, administering special attention to the social customs and strict decorum of Regency England.
- Emma (2020) Directed By Autumn de Wilde. Emma. PG. Release Date. February 21, 2020. Cast. Bill Nighy , Gemma Whelan , Rupert Graves , Mia Goth , Amber Anderson , Tanya Reynolds , Callum Turner , Chloe Pirrie , Josh O'Connor , Anya Taylor-Joy , Johnny Flynn , Miranda Hart , Suzy Bloom.
Emma Summary. Rich, beautiful, and privileged Emma Woodhouse fancies herself to be an excellent matchmaker. When her governess marries the well-to-do widower Mr. Weston, a match that Emma views herself to have made, Emma befriends the lower class Harriet Smith and sets out to similarly assist her.
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