JANE AUSTEN’S EMMA: A STUDY OF ELEMENT OF

COMEDY OF MANNERS

Abstract
In the Restoration period, the comedy of manners depicted a satirisation of upper-class
society, their behaviour, fashion and manners. Tracing its elements in 19th-century literature,
The purpose of the study is to explore Emma by Jane Austen and study the presence of
elements of comedy of manners in it.
The motivation for the study is linked with the analysis of Jane Austen's novel, which is
widely researched from a feminist perspective, yet lacks exploration of other related elements
traced in previous centuries.
The problem of the study is identified as the presentation of Emma possessing elements of
comedy of manners in the 19th century, creating similarity in their approach to social
hypocrisies and satirisation of human follies.
A qualitative empirical study is adopted for the study with the inclusion of sociological
criticism as the primary literary theory based on which analysis is conducted.
The results of the study portray the distinct presence of elements of comedy of manners in the
novel, especially as a satirisation of the assumed superiority of Emma and her inability to
understand the feelings of others. Her fervent goal of matchmaking leads her to realise that
Harriet is in love with the same man she also loves.
Thus, the entire novel, despite ending in three successful engagements, is also a satirical
reflection on the inability of the characters to exhibit their true intentions, complicating the
situation and creating comical confusion.

Keywords: Jane Austen, Emma, comedy of manners, satire, sociological criticism

Introduction
The comedy of manners developed as a dramatic genre as early as c. 342–c. 292 BC,
in ancient Greece, pioneered by Meander, drawing inspiration from Plautus and Terence.
Later on, Molière’s Le Misanthrope and L’École des femmes in the 17th century stood as
prominent examples of the genre, comically portraying the follies and hypocrisies prevalent
within the sophisticated society. The comedy of manners gained popularity in England during
the Restoration period, prominently witnessed in the works of George Etherege, William
Congreve, William Wycherley, Oliver Goldsmith and Richard Sheridan (Muir, 11). The
common characteristic in all these works was a lighthearted approach to satire through
dialogic genius and thematic intrigues.
Jane Austen’s Emma published in the 19th century portrays thematic intrigues and a
narratological approach closely resembling the characteristics of the Comedy of Manners.
The novel, similar to the other works of Austen such as Pride and Prejudice, Northanger
Abbey, Mansfield Park, Sense and Sensibility and Persuasion, revolves around the themes
of marriage, societal hypocrisy, misunderstandings and conflicts of interest that ultimately
end with a happy marriage for the characters. In the fashion of Comedy of Manners, Austen
satires the inherent hypocrisies in a 19th-century society where the position of upper-class
women was dictated by their ability to secure a fortunate marriage in order to be accepted in
society (Hartzler, 22). The characters in Jane Austen's Emma are portrayed in a comical light,
where the supposed supremacy of Emma, the protagonist for matchmaking, leads to
complications and confusion regarding love and marriage. Thus, the study aims at analysing
the elements of the comedy of manners in the novel, Emma to reveal its comparative
similarity in theme, narrative and plot devices.
Literature review
Primary elements of the Comedy of manners
Popularisation of the comedy of manners in 17th-century English society carries a
long tradition, seen among Meander and Molière, carried forwards by talented comedy
writers during the Restoration Period, essentially reviving the English theatre through the
portrayal of satires and follies in the behaviour and attitudes of English gentry. The exhibition
of pretentiousness and ego in alignment with the fashion of English society makes this genre
a potent source for comical intrigues. As Hirst states, "The subject of comedy of manners in
the way people behave, the manners they employ in a social context: the chief concerns of the
characters are the sex and money (and thus the interrelated topics of marriage, adultery and

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divorce); the style is distinguished by the refinement of raw emotional expression and action
in the subtlety of wit and intrigue (Hirst, 1). Thus, the characters and their interactions are
portrayed in a specific manner to ensure that interactions between these elements are possible
for maximum theatrical impact.
The comedy of manners further portrayed characters who suffer from certain flaws in
their character, leading them to perceive a situation differently than others and acting in a
manner that complicates the relationship between other characters of the play. For example,
in William Congreve's The Way of the World (1700), the character of Mirabell has
hedonistic and flirtatious characteristics that later become the central issues for gaining the
approval of Lady Wishfort, preventing him from marrying his lady love. However, as a
comedy genre, all the issues in the play are always resolved and the play ends with the
reconciliation or marriage of the characters.
The comedy of manners is often termed artificial comedy, due to its dealing with
superficial characteristics and mannerisms. Muir commented that both terms, 'artificial
comedy' and 'comedy of manners are not satisfactory as "artificial implies that the plays are
divorced from real life and 'manners' suggests that they deal only with superficial
characteristics [...] rather than with the permanent manifestations of human nature and with
universal human problems" (Muir, 1). Hence, the primary characteristics of the comedy of
manners are defined by their satirical presentation of manners and fashions of English
society.
Prominent themes in Emma by Jane Austen
The themes in Jane Austen’s Emma revolve around marriage and society in 19th-
century England. Emma, the protagonist is described famously as, "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" (Austen, 4). The prominent themes of marriage are
prominent as Emma proclaims herself to be a superior and sensible matchmaker. She
exercises a certain degree of freedom within her society, without any plans for marriage
which indicates a strong feminist attribute for contemporary society. However, through the
progression of the storyline, she develops tender feelings for Mr Knightley unexpectedly. The
plot is also supported by the pairings of Robert and Harriet, and Frank and Jane, ending the
novel on a happy note.
The internal dilemmas of the characters are seen through the meddling of Emma as
she tries to match Harriet and Mr Elton while influencing Harriet to reject Robert due to his

3
social status. As Robert belonged to a farmer's family, Emma was absolutely against him as
the social structure did not allow love and affection to triumph over financial and social
security for women. The confusion within Emma to find the perfect match for Harriet brings
about another intriguing shift in the plot when Harriet voices her affections for Mr Kinghtley,
leading Emma to realise that she is also in love with Mr Knightley and perhaps it would have
been better not to meddle between the blooming relationship between Harriet and Robert.
Thus, these situations, conjointly, form a novel that deals with the themes of marriage,
societal status and human behaviours.
Methodology
The study explores the elements of the Comedy of Manners and aligns it with Emma
by Jane Austen to demonstrate similarities in theme, plot and narrative. An empirical study
design is therefore adopted by the researcher to ensure that secondary data collection and
analysis based on relevant and reliable resources are provided. On the other hand, the paper
applies sociological criticism as the primary literary theory for the analysis of the topic.
Sociological criticism is highly beneficial for assessing the societal structure of a
contemporary time and how it is reflected in certain literary works. As the comedy of
manners deals with the manners and fashions of a particular era in English society, this
particular literary theory helps in exploring the prevalent sentiment of the English society
which dictated their mannerisms.
Sociological criticism in literature provides a wider context for understanding the
development of literature. Social observations are interpreted in sociological criticism,
leading to the systematic description of social groups, their interactions and behaviour
(Gottwald, 474-477). The application of this theory in literature not only helps to explore the
social implications reflected in certain literary texts but also helps in tracing the changes in
social structures, attitudes and fashion. The 19th-century sentiments of English society, as
reflected by Jane Austen, portray a dreadful picture of patriarchy and forced dependency
among women. The comedy of manners also portrays similar patriarchal structures where the
position of a lady and a common woman is treated differently by men, creating a prominent
gender gap. Thus, it has helped in evaluating the sociological nuances present in both.
Discussion
Jane Austen’s Emma as a Comedy of Manners
Jane Austen’s Emma is a literary work reflective of the fashion of contemporary
society where the position of women is dependent on their marriage prospects. Despite being

4
a grave patriarchal structure, its representation in the novel is comical and light-hearted,
described by the narrator to rather entertain the readers. Drawing similarities in the structure
of the plot with the comedy of manners, the novel presents a story where upper-class society
members engage in interactions that are fuelled by their selfish agendas. The superficial
qualities of forced matchmaking are presented in the novel to create intriguing situations,
complicating the development of love and affection between them.
Emma, at the centre of the plot, with her wild imagination, her wit and her beauty, is
established to portray that her status within the society allows her to take actions freely.
However, G. Armour Craig had commended that, "society in Emma is not a ladder. It is a
web of imputations that link feelings and conduct" (Bloom, 1). Her manners are elegant and
precisely calculated, presented in stark contrast with Harriet who is more simple and allows
the societal position, Emma, to gain control over her marriage prospects, disregarding her
feelings for Robert. The society depicted in the novel reveals that financial security is of
utmost importance. In a comical manner, the readers are acquainted with Jane and Frank,
only to reveal that their engagement was hidden to minimise opposition. In essence, similar to
the comedy of manners, the influence of society and members of the family are more
important. Thus, to please others, the charters are willing to deceive and mask their true
intentions, seeking the most favourable moment to declare their hidden feelings or agendas.
The reliability of characters is compromised in the novel, drawing similarities with
the comedy of manners. For example, George Etherege's The Man of Mode, reveals the
protagonist, Sir Fopling Flutter, as a rake who seeks to woo Harriet yet pretends to be in
entanglements with Mrs Loveit. Frank, Emma holds the secret of his engagement with Jane,
while pretending to interact with Emma, who feels temporary affection towards him. The
fleeting feelings of Emma bring into question her sincerity. As Austen presents Mr Kinghtley
as the representative of her moral values, Emma's development marks her maturity. The
moods of Emma vary significantly, restricting the readers to find access to the true character
of Emma (Burrows, 6). The contrast between Emma and Mr Knightley is also evident in their
moral values, as he tries to prevent Emma from getting entwined with Harriet and Robert's
connection.
The entire novel is rather comical from a reader's perspective as all the characters
struggle to identify their genuine feelings for each other. While some characters like Mr
Elton, comply with Emma's requests of accompanying Harriet, the author intrigues the
readers by revealing that Mr Elton is in love with Emma. It only devastates Emma further as
she realises that her matchmaking endeavours are being thwarted. Her complete disregard for

5
Mr Elton's heartbreak and his resolution to move to Bath portrays her investment into her
agenda despite her setbacks. Her resolution to find Harriet a suitable husband blinds her to
her admirers. Thus, Emma reveals a potent resemblance with the comedy of manners where
the satirical elements are presented in the manners of Emma and other characters, each driven
by their own agendas and hiding their true feelings to reach their goals.
Satire of societal hypocrisies and follies
Comedy of manners portrays the follies and hypocrisies of the upper-class people,
satirising it to create a comical effect, inducing laughter and recognition among the audience.
In most of the comedy of manners in the Restoration period, the characters, feigning
sophistication often portray immoral behaviour as seen in The Man of Mode. Emma is also
reflective of the societal hypocrisies and human follies, presented light-heartedly, to induce
recognition and laughter among readers. As articulated by Stafford, “Austen set out with the
playful intention of unsettling her readers, judging by one of her rare surviving authorial
comments, I am going to take a heroine whom no one but myself will much like” (Stafford,
4). However, the character of Emma was accepted, despite her assumed superiority about her
intelligence, her imagination and her lack of recognition of the truth around her.
The novel provides a picture of contemporary society, indicating the position of self-
assertive women and how her best intentions may lead to confusion. In essence, Emma is an
exceptional character, who is given authority over her life and her actions, yet her
sensibilities are yet to be matured. She fails to recognise both Mr Elton and Mr Knightley's
affection towards her as she prioritises marriage prospects of Harriet to elevate her social
status. Her matchmaking prowess becomes her greatest folly, especially as she demonstrates
the traditional mentality for accepting marriage proposals based on societal and financial
prospects rather than love. Through such a satiric remark on the prevalent social structures
for marriage, Austen highlights the weakness of both men and women, struggling to find
security, status and love at the same time.
Women are hardly given a chance to choose their path in life. As seen in the novel,
when Emma portrays jealousy toward Jane, She is warned by Mr Knightley that unlike her,
Jain does not have The social and financial privileges to protect her. The comfortable life
enjoyed by Emma is due to her upper-class privileges which indicate the inherent hypocrisies
of contemporary English society. Similarly, the rejection of Robert based on his family's
occupation and societal status further reinforces the notion of societal acknowledgement of a
higher status to be the primary criteria for a marriage rather than finding emotional
connection and love. Therefore, similar to the trends of the comedy of manners, this novel

6
satirises the conventional hypocrisy that dictates human life within English society as well as
the inherited human follies that complicate the situation.
Characterization of Emma as representative of the assumed superiority of sophisticated
English society
The character of Emma, In the novel, is a representative of the assumed superiority of
sophisticated English society. The upper-class Society follows certain fashions and manners
that are considered to be superior in terms of behaviour and attitude. Yet these superficial
qualities are representative of the lack of genuine understanding. The characterization of
Emma is described to be wildly imaginative, assertive and independent. On the other hand,
she is also recognised as volatile in her modes and confused in her feelings. She fails to
understand that Mr Knightley loves her while she shows insincerity towards the feelings of
Mr Elton. Continuous influence on Harriet further shows her assumed superiority, seeking to
dictate the matters of the heart without attaining a genuine understanding of love and
marriage.
The author portrays her moral sensibilities, not through her protagonist but through
Mr Knightley who is able to acknowledge the seriousness of matchmaking. The irony
portrayed in the characterization of Emma is related to her social hypersensitivity and her
misinterpretations of others' feelings (McMaster, 73). She not only misunderstands the true
feelings of Mr Elton but also fails to identify the bond between Frank and Jane. In essence,
her maturity is rather a portrayal of her image of herself, whereas her true characteristics are
ridiculously different from reality.
Emma, as a character, is appraised for her assertion of independence within a
particular societal structure that does not allow women the authority to make decisions.
However, Jane Austen, by portraying her privileges and her lack of real-life experiences
stands in stark contrast with her assumed superiority in her endeavours to form a socially
acceptable and praiseworthy match. Thus, the tones of satirisation inherent in the
characterization of Emma further indicate the presence of elements of comedy of manners in
the novel.
Conclusion
Exploring Emma by Jane Austen and tracing the elements of the comedy of manners in it has
presented certain similarities between them. As a popular dramatic genre of the Restoration
period, the comedy of manners depicted a satirisation of upper-class society, their behaviour,
fashion and manners. In essence, the characters in the plays by William Congreve, William

7
Wycherley, Richard Sheridan, Oliver Goldsmith and so on, were reflective of certain comic
elements linked with their assumed superiority, intrigues and dialogic craft. The picture
painted by these playwrights not only satirised the superficiality of the upper-class gentry but
also demonstrated their inability to outwit situations created by their follies.
Considering these elements, Emma shows prominent similarities as each character, especially
Emma is blinded by her imagination and her assumed superiority and intellect in
matchmaking despite her clear inexperience of the world at large. Each character is driven by
their agenda as Frank and Jane had secretly engaged each other and pretended to be eligible
to ensure their relatives agree to the match. On the other hand, Emma prevents the match
between Harriet and Robert due to his lack of social status, seeking to match Mr Eliot with
her, without realising that he loves Emma. The situation further complicates as Harriet starts
to love Mr Knigtley, who loves Emma and Emma harbours feelings for him as well. Thus,
the entire novel, despite ending in three successful engagements, is also a satirical reflection
on the inability of the characters to exhibit their true intentions, complicating the situation
and creating comical confusion.

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References
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Burrows, John Frederick. Jane Austen's Emma. Taylor & Francis, 2022. 1-196.
Gottwald, Norman K. "Sociological criticism of the Old Testament." The Christian
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Hartzler, Sara Kathryn Kreider. Marriage as theme and structure in Jane Austen's novels.
Indiana University, 1971. 1-296.
Hirst, David L. Comedy of manners. Routledge, 2017. 1-130.
McMaster, Juliet. Jane Austen the novelist: essays past and present. Springer, 1995. 1-199.
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