Jane
Austen's Emma is a novel of self-knowledge/ self-discovery.
Do
you agree? Justify will suitable textual illustrations. / Evolution of Emma/
Education of Emma/ Emma as a novel of growth or bildungsroman/ Character of
Emma
Jane Austen’s nineteenth century
novel Emma is an excellent example of a bildungsroman. The novel
begins at a catalytic moment in Emma’s life, just after her governess marries.
While Emma never leaves the nest, Mrs. Weston’s departure represents the
removal of direct oversight from her life. Now Emma must make her own choices
and act independently. Initially, Emma uses her freedom and power to control
and manipulate the lives of others. While she claims to act for the good of
others, her projects revolve around her own self-interest by fulfilling her
inescapable boredom. Her lack of perception and maturity coupled with an
overabundance of self-confidence makes Emma a powerful but immature driver of
the social scene of Highbury. As described by Mr. Knightley, Emma is “a pretty
young woman and a spoiled child” (Vol. 1 Ch. 12).
Several
events mark the evolution of Emma from childishness to maturity. The first is
when Emma misreads Mr. Elton’s attachments not towards Harriet but towards
herself. Through this experience, of which “every part of it brought pain and
humiliation,” she learns that she is fallible and that her actions can have
ruinous consequences (Vol. I Ch. 16).
Another
incident is when Emma tests and finds her limits when she is cruel to Mrs.
Bates at Box Hill. In a poignant, reflective moment after the incident, Emma
realizes “she had been often remiss, her conscience told her so… scornful,
ungracious” (Vol. 2 Ch. 8). With this epiphany she decides to “call upon [Mrs.
Bates] the very next morning, and it should be the beginning, on her side, of a
regular, equal, kindly intercourse” (Vol. 2 Ch. 8). Emma’s walk to Mrs. Bates’
door represents her first steps into adulthood. Here we see Emma humbled to the
point of apologizing to a women she previously considered ridiculous and pitiable.
Yet the focus – for once – is not on Emma’s externalities, such as beauty or
position, but on the internal emotions of another.......................................
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