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Introduction by A. Walton Litz
“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.” So begins Jane Austen’s comic masterpiece Emma. In Emma, Austen’s prose brilliantly elevates, in the words of Virginia Woolf, “the trivialities of day-to-day existence, of parties, picnics, and country dances” of early-nineteenth-century life in the English countryside to an unrivaled level of pleasure for the reader. At the center of this world is the inimitable Emma Woodhouse, a self-proclaimed matchmaker who, by the novel’s conclusion, may just find herself the victim of her own best intentions.
INCLUDES A MODERN LIBRARY READING GROUP GUIDE
Introduction by A. Walton Litz
“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.” So begins Jane Austen’s comic masterpiece Emma. In Emma, Austen’s prose brilliantly elevates, in the words of Virginia Woolf, “the trivialities of day-to-day existence, of parties, picnics, and country dances” of early-nineteenth-century life in the English countryside to an unrivaled level of pleasure for the reader. At the center of this world is the inimitable Emma Woodhouse, a self-proclaimed matchmaker who, by the novel’s conclusion, may just find herself the victim of her own best intentions.
INCLUDES A MODERN LIBRARY READING GROUP GUIDE
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Jane Austen’s sass and satire are always wonderful companions, and nowhere are they more prominent than in Emma, the story of a hapless matchmaker and her genuine attempts to spark love. It’s heartfelt, hilarious and an endearing classic.
Introduction by A. Walton Litz
“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.” So begins Jane Austen’s comic masterpiece Emma. In Emma, Austen’s prose brilliantly elevates, in the words of Virginia Woolf, “the trivialities of day-to-day existence, of parties, picnics, and country dances” of early-nineteenth-century life in the English countryside to an unrivaled level of pleasure for the reader. At the center of this world is the inimitable Emma Woodhouse, a self-proclaimed matchmaker who, by the novel’s conclusion, may just find herself the victim of her own best intentions.
INCLUDES A MODERN LIBRARY READING GROUP GUIDE
| ISBN-13: | 9780375757426 |
|---|---|
| Publisher: | Random House Publishing Group |
| Publication date: | 05/08/2001 |
| Series: | Modern Library Classics |
| Pages: | 384 |
| Sales rank: | 563,236 |
| Product dimensions: | 5.20(w) x 7.94(h) x 0.84(d) |
| Age Range: | 12 - 18 Years |
A. Walton Litz, American literary historian and critic, was for almost four decades a professor of English literature at Princeton University. He is the author or editor of more than twenty collections of literary criticism.
Date of Birth:
December 16, 1775Date of Death:
July 18, 1817Place of Birth:
Village of Steventon in Hampshire, EnglandPlace of Death:
Winchester, Hampshire, EnglandEducation:
Taught at home by her father
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.
She was the youngest of the two daughters of a most affectionate, indulgent father; and had, in consequence of her sister's marriage, been mistress of his house from a very early period. Her mother had died too long ago for her to have more than an indistinct remembrance of her caresses; and her place had been supplied by an excellent woman as governess, who had fallen little short of a mother in affection.
Sixteen years had Miss Taylor been in Mr. Woodhouse's family, less as a governess than a friend, very fond of both daughters, but particularly of Emma. Between them it was more the intimacy of sisters. Even before Miss Taylor had ceased to hold the nominal office of governess, the mildness of her temper had hardly allowed her to impose any restraint; and the shadow of authority being now long passed away, they had been living together as friend and friend very mutually attached, and Emma doing just what she liked; highly esteeming Miss Taylor's judgment, but directed chiefly by her own.
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: these were the disadvantages which threatened alloy to her many enjoyments. The danger, however, was at present so unperceived, that they did not by any means rank as misfortunes with her.
Sorrow came—a gentle sorrow&mdashbut not at all in the shape of any disagreeable consciousness. Miss Taylor married. It was Miss Taylor's loss which first brought grief. It was on the wedding day of this beloved friend that Emma first sat in mournful thought of any continuance. The wedding over, and the bride people gone, her father and herself were left to dine together, with no prospect of a third to cheer a long evening. Her father composed himself to sleep after dinner, as usual, and she had then only to sit and think of what she had lost.
The event had every promise of happiness for her friend. Mr. Weston was a man of unexceptionable character, easy fortune, suitable age, and pleasant manners; and there was some satisfaction in considering with what self-denying, generous friendship she had always wished and promoted the match; but it was a black morning's work for her. The want of Miss Taylor would be felt every hour of every day. She recalled her past kindness—the kindness, the affection of sixteen years—how she had taught and how she had played with her from five years old—how she had devoted all her powers to attach and amuse her in health—and how nursed her through the various illnesses of childhood. A large debt of gratitude was owing here; but the intercourse of the last seven years, the equal footing and perfect unreserve which had soon followed Isabella's marriage, on their being left to each other, was yet a dearer, tenderer recollection. She had been a friend and companion such as few possessed: intelligent, well-informed, useful, gentle, knowing all the ways of the family, interested in all its concerns, and peculiarly interested in herself, in every pleasure, every scheme of hers; one to whom she could speak every thought as it arose, and who had such an affection for her as could never find fault.
How was she to bear the change? It was true that her friend was going only half a mile from them; but Emma was aware that great must be the difference between a Mrs. Weston, only half a mile from them, and a Miss Taylor in the house; and with all her advantages, natural and domestic, she was now in great danger of suffering from intellectual solitude. She dearly loved her father, but he was no companion for her. He could not meet her in conversation, rational or playful.
The evil of the actual disparity in their ages (and Mr. Woodhouse had not married early) was much increased by his constitution and habits; for having been a valetudinarian all his life, without activity of mind or body, he was a much older man in ways than in years; and though everywhere beloved for the friendliness of his heart and his amiable temper, his talents could not have recommended him at any time.
Her sister, though comparatively but little removed by matrimony, being settled in London, only sixteen miles off, was much beyond her daily reach; and many a long October and November evening must be struggled through at Hartfield, before Christmas brought the next visit from Isabella and her husband, and their little children, to fill the house, and give her pleasant society again.
Highbury, the large and populous village almost amounting to a town, to which Hartfield, in spite of its separate lawn, and shrubberies, and name, did really belong, afforded her no equals. The Woodhouses were first in consequence there. All looked up to them. She had many acquaintances in the place, for her father was universally civil, but not one among them who could be accepted in lieu of Miss Taylor for even half a day. It was a melancholy change; and Emma could not but sigh over it, and wish for impossible things, till her father awoke, and made it necessary to be cheerful. His spirits required support. He was a nervous man, easily depressed; fond of everybody that he was used to, and hating to part with them; hating change of every kind. Matrimony, as the origin of change, was always disagreeable; and he was by no means yet reconciled to his own daughter's marrying, nor could ever speak of her but with compassion, though it had been entirely a match of affection, when he was now obliged to part with Miss Taylor too; and from his habits of gentle selfishness, and of being never able to suppose that other people could feel differently from himself, he was very much disposed to think Miss Taylor had done as sad a thing for herself as for them, and would have been a great deal happier if she had spent all the rest of her life at Hartfield. Emma smiled and chatted as cheerfully as she could, to keep him from such thoughts; but when tea came, it was impossible for him not to say exactly as he had said at dinner:
'Poor Miss Taylor! I wish she were here again. What a pity it is that Mr. Weston ever thought of her!'
'I cannot agree with you, papa; you know I cannot. Mr. Weston is such a good-humoured, pleasant, excellent man, that he thoroughly deserves a good wife; and you would not have had Miss Taylor live with us for ever, and bear all my odd humours, when she might have a house of her own?'
'A house of her own! but where is the advantage of a house of her own? This is three times as large; and you have never any odd humours, my dear.'
'How often we shall be going to see them, and they coming to see us! We shall be always meeting! We must begin; we must go and pay our wedding-visit very soon.'
'My dear, how am I to get so far? Randalls is such a distance. I could not walk half so far.'
'No, papa; nobody thought of your walking. We must go in the carriage, to be sure.'
'The carriage! But James will not like to put the horses to for such a little way; and where are the poor horses to be while we are paying our visit?'
'They are to be put into Mr. Weston's stable, papa. You know we have settled all that already. We talked it all over with Mr. Weston last night. And as for James, you may be very sure he will always like going to Randalls, because of his daughter's being housemaid there. I only doubt whether he will ever take us anywhere else. That was your doing, papa. You got Hannah that good place. Nobody thought of Hannah till you mentioned her—James is so obliged to you!'
'I am very glad I did think of her. It was very lucky, for I would not have had poor James think himself slighted upon any account; and I am sure she will make a very good servant; she is a civil, pretty-spoken girl; I have a great opinion of her. Whenever I see her, she always curtseys and asks me how I do, in a very pretty manner; and when you have had her here to do needlework, I observe she always turns the lock of the door the right way and never bangs it. I am sure she will be an excellent servant; and it will be a great comfort to poor Miss Taylor to have somebody about her that she is used to see. Whenever James goes over to see his daughter, you know, she will be hearing of us. He will be able to tell her how we all are.'
| About the Series | v | |
| About This Volume | vii | |
| About the Text | xi | |
| Part 1 | Emma: The Complete Text in Cultural Context | |
| Introduction: Biographical and Historical Contexts | 3 | |
| The Complete Text | 21 | |
| Contextual Documents and Illustrations | 382 | |
| A Riddle | 385 | |
| Robin Adair | 386 | |
| from Unfortunate Situation of Females, Fashionably Educated, and Left without a Fortune. (1787) | 387 | |
| from Letter to His Son (1750) | 389 | |
| from Essays on the Picturesque (1810) | 390 | |
| from Our Domestic Policy. No I. (1829) | 391 | |
| Opinions of Emma (Ca. 1816) | 392 | |
| Crossed Letter from Jane Austen to Cassandra (June 20, 1808) | 398 | |
| The Frolics of the Sphynx (1820) | 399 | |
| Square Pianoforte (1805) | 400 | |
| A Barouche Landau (1805) | 401 | |
| A View of Box Hill, Surrey (1733) | 401 | |
| The Lincolnshire Ox (1790) | 402 | |
| Part 2 | Emma: A Case Study in Contemporary Criticism | |
| A Critical History of Emma | 405 | |
| Gender Criticism and Emma | 425 | |
| What Is Gender Criticism? | 425 | |
| Gender Criticism: A Selected Bibliography | 437 | |
| A Gender Studies Perspective: Claudia L. Johnson, "Not at all what a man should be!": Remaking English Manhood in Emma | 441 | |
| Marxist Criticism and Emma | 456 | |
| What Is Marxist Criticism? | 456 | |
| Marxist Criticism: A Selected Bibliography | 470 | |
| A Marxist Perspective: Beth Fowkes Tobin, Aiding Impoverished Gentlewomen: Power and Class in Emma | 473 | |
| Cultural Criticism and Emma | 488 | |
| What Is Cultural Criticism? | 488 | |
| Cultural Criticism: A Selected Bibliography | 503 | |
| A Cultural Perspective: Paul Delany, "A Sort of Notch in the Donwell Estate": Intersections of Status and Class in Emma | 508 | |
| The New Historicism and Emma | 524 | |
| What Is the New Historicism? | 524 | |
| The New Historicism: A Selected Bibliography | 538 | |
| A New Historicist Perspective: Casey Finch and Peter Bowen, "The Tittle-Tattle of Highbury": Gossip and the Free Indirect Style in Emma | 543 | |
| Feminist Criticism and Emma | 559 | |
| What Is Feminist Criticism? | 559 | |
| Feminist Criticism: A Selected Bibliography | 569 | |
| A Feminist Perspective: Devoney Looser, "The Duty of Woman by Woman": Reforming Feminism in Emma | 577 | |
| Combining Perspectives on Emma | 594 | |
| Combining Perspectives: Marilyn Butler, Introduction to Emma | 597 | |
| Glossary of Critical and Theoretical Terms | 615 | |
| About the Contributors | 635 |
"To me, as an American critic, Emma seems the most Englilsh of English novels....It is Austin's masterpiece, the largest triumph of her vigorous art."
"No one creates silly English characters better than Austen, and Wanda McCaddon is up to the challenge." —-AudioFile
1. Describe the class and rank of various characters in the village of Highbury. Compare the positions of Mr. Weston, Mr. Elton, Miss Taylor, Harriet, and Emma with others in Highbury. How do matters of class affect the interaction of these characters, and would you describe class as being rigid or flexible as it is depicted by Jane Austen? To what extent can class be said to be of central importance to the development of the novel, since it is one of the most important considerations in marriage? Does class seem to be treated differently by those in Highbury than it does by outsiders, for example Frank Churchill and Mrs. Elton? Do you think it is significant that no woman in Highbury is of Emma's age and rank?
2. How does the relationship between Mr. Knightley and Emma change throughout the course of the novel? Although Austen does not directly tell us what their relationship was like during Emma's childhood, their long and intimate friendship is established at the novel's opening. In light of their occasional quarrels and Knightley's criticisms of Emma, for example, the criticism he made on Box Hill, how does Mr. Knightley feel about Emma? Do Mr. Knightley's feelings change as the novel progresses? If they do, what incidents account for the changes in his feelings?
3. Does Emma act as a good friend to Harriet Smith? Are Emma's concerns for Harriet's education and refinement born of an honest desire to help, or is it something less altruistic? Are Mr. Knightley's criticisms of Emma's interference with Mr. Martin's marriage proposal justified? Does Harriet ultimately benefit from Emma's friendship or her attempts to help her?
4. While matchmaking is the central device in Emma, both for the plot and as a backdrop to develop characters, not all of the matches made in the novel are good. Compare the matches made between Mr. Weston and Miss Taylor, Emma and Mr. Knightley, Harriet and Mr. Martin, Jane Fairfax and Frank Churchill, and Mr. Elton and Mrs. Elton. Which are good matches and which are bad? What character traits in the couples make them suited or unsuited for each other? Why are the mismatches so important to the story?
5. In the final analysis, is Emma a sympathetic character? Does she seem to have good intentions only marred by a slight desire to interfere with other people's lives, or is she thoughtless and unconcerned with the effects she has on others? In your estimation, is Emma ultimately moral or immoral? What specific incidents in the novel lead you to that conclusion?
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