The Maturation of Emma in Jane Austen's Emma - Book Report/Review Example

Running head: THE MATURATION OF EMMA IN JANE AUSTEN'S EMMA The Maturation of Emma In Jane Austen's Emma Put Here Put Your Institutional Affiliation Here The Maturation of Emma in Jane Austen's Emma Jane Austen's Emma is a novel built on contrasts and contradictions. Mr. Martin's humble sense is the antithesis of Mr. Elton's foolish pride; Harriet's retiring sweetness is set against Mrs. Elton's vulgar conceit; Mr. Knightly's consideration for others compares with Frank Churchill's insensitive use of Emma. But, nowhere is this contrast and contradiction more pronounced than within Emma, herself, as she experiences a rite of passage. Introduced as a somewhat detached, self-centred child, Emma evolves into a compassionate, self-reflective adult. Three major events - Mr. Elton's proposal, publicly ridiculing Miss Bates, and Harriet's focus on Mr. Knightly - shake loose the foundations of Emma's childish self-deception and initiate her journey of self-discovery. Emma's childlike attitudes and behaviours are the products of her upbringing and situation in life. Growing up without a mother, Emma has no boundaries and accountability. The only person who could provide that authority, Mrs. Weston, is so mild that she hardly restrained Emma (p. 37). Consequently, Emma did as she pleased. Furthermore, she was indulged and mistress of her father's household from a young age, as well as first in consequence in Highbury (p. 39), but has done nothing to earn her rank. Emma has never experienced the struggle that engenders wisdom. She " had lived nearly twenty-one years in the world with very little to distress or vex her" (p. 37). Why work to develop strength of character and earn others' respect when deference is automatically provided Emma also demonstrates her lack of maturity by focusing on externals when judging a person's worth. Her description of Robert Martin (p. 61) dwells on his appearance and lack of gentility. Additionally, she minimises his sense and merit by referring to him as nothing more than a farmer (p. 88). Conversely, she gives Mr. Elton virtues he does not possess. A child does not have the developed conscience, the acquired sense of right and wrong. Mr. Knightly, as an antagonist to Emma's protagonist, serves as Emma's conscience. He is the only person who will stand up to Emma and tell her the truth. He readily critiques Emma's faults both to Emma and others. For example, he scolds Emma for interfering with Harriet's answer to Mr. Martin (p. 89) and reproves her for neglecting her responsibilities toward Mrs. and Miss Bates (p. 169). When discussing Emma with Mrs. Weston, he states that "Emma is spoiled by being the cleverest of her family. [E]ver since she was twelve, Emma has been mistress of the house and of you all" (p. 66). Like a true child, Emma refuses to acknowledge Mr. Knightly's good advice, even though she cannot dismiss it altogether, as demonstrated in their discussion about Robert Martin's proposal (p. 92). Emma shows a lack of sensitivity for peoples' feelings by treating them as objects to control. "She had no scruple with regard to [Mr. Elton]" to manipulate him into falling in love with Harriet (p. 70). Matchmaking is play, and she endeavours to control others without regard for their feelings or regard for each other (p. 44)-quite ironic, since she owns that she could not marry without love (p. 109). To compound matters, Emma cannot imagine herself to be wrong. She convinces Harriet that Mr. Elton meant the charade for her in absolute terms, "It is a certainty. Receive it on my judgment" (p. 100). This makes Mr. Elton's true attachment all the more shocking. When John Knightly suggests that she is Mr. Elton's object, Emma continues her self-deception and expresses an opinion of her brother that exactly describes herself. She muses on the " mistakes which people of high pretensions to judgment are for ever falling into; and not very well pleased with her brother for imagining her blind and ignorant, and in want of counsel" (p. 134). Then, trapped in a carriage with Mr. Elton, cut off from everything but the present moment, she experiences his declaration of ardour (p. 148). It disrupts Emma's world ("Her mind had never been in such perturbation") and thrusts her into self-reflection (p. 152). Emma arrives at a partial realisation from this experience. She acknowledges that the Knightleys were more perceptive than she (pp. 153-4) and feels wretched that Harriet should suffer because of her influence. "Such a blow for Harriet! - That was the worst of all" (p. 153); she takes responsibility for being the cause of Harriet's attachment and does "penance" by telling her friend the truth (p. 159). To her credit, she understands that she was wrong to attempt such a manipulation and determines not to do it again (p. 155). However, her self-deception is still evident when she partially blames Mr. Elton, "His manners, however, must have been unmarked, wavering, dubious, or she could not have been so misled" (p. 153). The second emotional upheaval Emma experiences comes on Box Hill when she impulsively ridicules Miss Bates. Her feelings and opinions of Miss Bates as tiresome and silly (p. 110; 182) slip out; that it will be difficult for Miss Bates to limit herself to communicating only three dull things (p. 364). Emma thinks no more of her remark until Mr. Knightly's reproach. "How could you be so unfeeling to Miss Bates How could you be so insolent in your wit to a woman of her character, age, and situation" (p. 367) Mr. Knightly shames her to tears, and once again Emma finds herself isolated with her thoughts-in spite of Harriet's presence-in a carriage. "She was vexed beyond what could have been expressed - almost beyond what she could conceal. Never had she felt so agitated, mortified, grieved, at any circumstance in her life. She was most forcibly struck" (p. 369). Emma is once again humbled in her meditation and forces herself into brutal honesty regarding her conduct. She acknowledges past "scornful, ungracious" behaviour towards Miss Bates (p. 370) and denies her father's praise that she is attentive (p. 377). A penitent Emma must again make a visit and develops just a bit more from her shame, sincerity, and solicitude (p. 372). She contemplates the disparity between Mrs. Churchill's and Jane's importance and how different are their destinies-an insight wholly focused on another's welfare (p. 376). Emma has grown and learned from a wrenching experience. Perhaps, though, the most shattering moment for Emma is when she realises that Harriet's object of affection is not Frank Churchill, but Mr. Knightly. The moment Emma begins to suspect, "She could not speak another word. - Her voice was lost; and she sat down, waiting in great terror till Harriet should answer" (p. 396). Instantly, Emma realises that she, herself, is in love with Mr. Knightly. This knowledge, this ability to go outside oneself and truly love another, is the turning point for Emma. "She saw it [her inappropriate behaviour] all with a clearness which had never blessed her before" (p. 398). Emma finally realises how she has deceived herself. Deception is a device that Austen uses to great advantage. Emma deceives herself that Mr. Elton's attentions are for Harriet. Frank Churchill's attentions to Emma are a deception and a misdirection (which leads one to wonder if Austen named this character with tongue in cheek). Austen then juxtaposes these deceptions against the forthright manner of both Mr. Knightly and Mr. Martin. The angst, which grows from Emma's self-reflection, is expressed in terms of her self-deception, " The blunders, the blindness of her own head and heart" (p. 401)! Furthermore, her self-knowledge comes at a price. She realises that she may lose Mr. Knightly because of her own doing-her arrogant meddling. Deception plays here, too, as Emma believes Mr. Knightly wishes to speak of Harriet as his future wife and begs him to leave the words unspoken. But Austen did not pen a tragedy. All parties achieve the end they would have attained but for Emma's interference-Mr. Elton obtains a wife to match his own lack of merit, Jane and Frank find happiness, and Harriet accepts Mr. Martin. If Mr. Elton realises what he has lost, he does not show it; as for the others, they are dragged along in Emma's wake of self-revelation and emerge the wiser. Even Knightly owns a change with respect to his opinion of Harriet, and Emma's change is characterised by an opinion of Mr. Martin that is based on his inner merits rather than his outward appearance or station (p. 455-6). Ultimately, the need to control others ceases after Emma turns her vision inward and learns self-control. Her self-revelation gradually dissolves her self-deception. Inner knowledge and the ability to love complete Emma's journey from child to adult. Read More