Emma - Tutoring

Emma is a revolutionary novel that gave women a voice.

In your response, evaluate how Austen’s distinctive narrative style challenges or affirms this view.
In your response, focus on key episodes in the novel.

Jane Austen’s Emma is a satirical piece of literature whose primary focus is on the extremities and quirks of
the lives of upper class families in 19th century British society. Austen masterfully utilises comedic narrative
voice and free indirect discourse to demonstrate the complex and humorous nature of gentility especially
revolving around women which comes at a cost to the revolutionary feminist nature of the text. The framing
of women's characters does allow for some reflection on society's perception of femininity but does not quite
critique them thoroughly enough to be considered revolutionary or to really give women a voice. In the
example of Emma, she is a deeply complex and flawed character who says many classist things throughout
the novel. As Jane Nardin wrote in ‘Charity in Emma’ “The upper-class education on which Emma prides
herself has tended to foster complacency and conceit rather than moral excellence”. Emma’s character as
wealthy, white and quite classist and not allowed for any true liberating statements to me made through her
by Austen. The limited scope exhibited by the characters in ‘Emma’ has done a disservice to the cause of a
‘revolutionary’ text that gives women a ‘voice’.

Austen’s depiction of the character of Emma is deeply satirical yet demonstrative of many of the ideals
wealthy women held in her society. A key theme which demonstrated the almost feminist characterisation of
Emma is her perception of marriage. Within the first ten chapters of the book the reader is given a series of
highly critical perceptions of the institution of marriage in society and its detrimental impact on feminine
autonomy contrasted with its compulsory nature for many women. On the subject of whether or not she
wants to be married Emma states “Fortune I do not want, employment I do not want, consequence I do not
want: I believe few married women are half as much mistress of their husband's house as I am of Hartfield.”,
in this Austen uses listing and epistrophe to demonstrate Emma’s clear objection to the idea of marriage.
Though this paints a somewhat feminist picture of Emmas character it lacks the intersectionality and self
reflection to say it would to give real women voices. Harriets character is a more relatable figure only in
class, however. She is presented as someone with a closer connection to that of the reader than Emma is
yet still lacks the autonomy which could make her character at all revolutionary. On the subject of marriage
Harriet regularly paints herself as a romantic who looks pitifully on those who decide to stay unwed. In a
conversation with Emma she states “you will be an old maid! And that’s so dreadful!”, in this Austen uses
exclamatory language to illustrate the horror Harriet feels at Emama exercising her autonomy when it comes
to romantic relationships. Both Harriet and Emma are deeply flawed which does show an understanding of
the complexities of women's personalities but does nothing to liberate them from their patriarchal system or
give them any real power.

The events surrounding Emma visiting the needy in the beginning of the novel further divulge her characters
flaws and shaky revolutionary standpoint. Emma's view of the needy within her society is one of complete
ignorance to their thoughts and feelings. She pursues charity as a means of making herself feel good as
opposed to improving the lives of others. She regularly describes the working class homes as “Wretched”
and saying that “The outer wretchedness (of the home)” can only be beaten by the “[wretchedness] within”.
She describes farmers as “coarse and unpolished” and believes “extraordinary virtue” cannot be expected
from poor families. Austen uses high modality and disgusted tone to communicate the ignorance of Emma’s
character and her unbelievable detachment from the feelings of those she considers below her. The high
modality of the language creates a feeling of resentment in the reader towards Emma and acts as another
indicator of her inability to be a feminist character yet it does illustrate the talent exhibited in Austen’s satirical
writing. A similar story is painted for the character of Mrs Elton who exhibits all of the negative characteristics
of Emma to an extreme level. Both Emma and Mrs Elton view charity as a means to an end as opposed to
something they do out of the goodness of their hearts. This depiction of class is a humorous one but its
critiques are not scathing enough to suggest revolutionary change. The incredible use of free indirect
discourse is revolutionary, however. Austens ability to craft characters she stated “only she would like” gives
the reader a glimpse into her talents as an author and into the deeper meaning of the text.
The box hill episode of the novel marks a change in Emma’s character and the overall outlook of the text.
Emma’s snarky commentary goes too far and she ends up insulting another guest at the party, Mrs Bates.
This marks the turning point and an increase in revolutionary aspects of the text. Emma is able to excuse her
manipulation of Harriet by citing her good intentions, but Emma can offer no excuse for her deliberate and
personal attack of Miss Bates. She is forced to confront her own biases and evaluate her personal beliefs.
After insulting Mrs Bates she is reprimanded by Mr Knightly who still sees her good nature but feels
responsible for reaching out. He states, “I cannot see you acting wrong, without a remonstrance”. Austen’s
foregoing of free indirect discourse highlights the honest tone in his voice and his genuine concern for
Emma. He views Emma’s character as an inherently good person who makes mistakes which shapes his
perceptions of her behaviour as a pure person who makes mistakes. He says his criticisms to her softly
demonstrating his love and warm view of her. He puts himself in a teaching position as someone who has a
responsibility to her. Emma is in a submissive position in their relationship, a position many women find
themselves in. This is not in and of itself a negative or positive thing. But through Austens slear satirical
perspective the message of Emma as a beacon of feminism and autonomy is criticised showing once again
that this book may be quite revolutionary in some ways bit does not truly give women a voice and really just
softly mocks the system of pression which shape her society without any real call for change.

Emma can be considered revolutionary literature from the writing and character development standpoint with
Austen's incredible use of free indirect discourse, however, her characters hardly give women a voice and I
don't feel the main critiques of the text were of misogyny. Instead, the criticism seems to be mostly class and
social stratification based, Austen’s critiques of class shine through throughout the entirety of Emma. The
critiques, while shallow, were pointed, and allowed for some demonstrations of Austen’s ability to world-build
and create distinctly unique characters with personalities and flaws. These characteristics of the novel allow
for it to have an innovative nature but lack the depth for it to be painted as a truly ‘revolutionary’ text which
gives women a voice.