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UK. Comedy, Drama. creators Eleanor Catton. I n January 1814, Jane Austen sat down to write a revolutionary novel. Emma, the book she composed over the next year, was to change the shape of what is possible in fiction. Perhaps it seems odd to call Austen “revolutionary” – certainly few of the other great pioneers in the history of the English novel have thought so. From Charlotte Brontë, who found only “neat borders” and elegant confinement in her fiction, to DH Lawrence, who called her “English in the bad, mean, snobbish sense of the word”, many thought her limited to the small world and small concerns of her characters. Some of the great modernists were perplexed. “What is all this about Jane Austen? ” Joseph Conrad asked HG Wells. “What is there in her? What is it all about? ” “I dislike Jane … Could never see anything in Pride and Prejudice, ” Vladimir Nabokov told the critic Edmund Wilson. Austen left behind no artistic manifesto, no account of her narrative methods beyond a few playful remarks in letters to her niece, Anna. This has made it easy for novelists and critics to follow Henry Jamess idea of her as “instinctive and charming”. “For signal examples of what composition, distribution, arrangement can do, of how they intensify the life of a work of art, we have to go elsewhere. ” She hardly knew what she was doing, so, implicitly, the innovative novelist like James has nothing to learn from her. There have been scattered exceptions. The year after he published More Pricks Than Kicks, the young Samuel Beckett told his friend Thomas McGreevy, “Now I am reading the divine Jane. I think she has much to teach me. ” (One looks forward to the scholarly tome on the influence of Jane Austen on Samuel Beckett. Contemporary novelists have been readier to acknowledge her genius and influence. Janeites felt a frisson of satisfaction to see that the most formally ingenious British postmodern novel of recent years, Ian McEwans Atonement, opens with a lengthy epigraph from Northanger Abbey. McEwan alerts the reader to the fact that his own novel learns its tricks – about a character who turns fictional imaginings into disastrous fact – from the genteel and supposedly conservative Austen. Emma, published 200 years ago this month, was revolutionary not because of its subject matter: Austens jesting description to Anna of the perfect subject for a novel – “Three or four families in a country village” – fits it well. It was certainly not revolutionary because of any intellectual or political content. But it was revolutionary in its form and technique. Its heroine is a self-deluded young woman with the leisure and power to meddle in the lives of her neighbours. The narrative was radically experimental because it was designed to share her delusions. The novel bent narration through the distorting lens of its protagonists mind. Though little noticed by most of the pioneers of fiction for the next century and more, it belongs with the great experimental novels of Flaubert or Joyce or Woolf. Woolf wrote that if Austen had lived longer and written more, “She would have been the forerunner of Henry James and of Proust”. In Emma, she is. Saoirse Ronan and James McAvoy in Atonement (2007) Photograph: Ronald Grant Archive To measure the audacity of the book, take a simple sentence that no novelist before her could have written. Our privileged heroine has befriended a sweet, open, deeply naive girl of 17 called Harriet Smith. It is a wholly unequal relationship: Emma is the richest and cleverest woman in Highbury; Harriet is the “natural daughter of someone”, left as a permanent resident of the genteel girls boarding school in the town. While cultivating their relationship, Emma knows very well that Harriet is her inferior. “But in every respect as she saw more of her, she was confirmed in all her kind designs. ” The sentence is in the third person, yet we are not exactly being told something by the author. “Kind designs” is Emmas complacent judgment of herself. Even the rhyme in the phrase makes it sound better to herself. In fact, the kindness is all in the mind of the beholder. Emma has set out to mould Harriet. Emmas former companion, Miss Taylor, has got married and become Mrs Weston, leaving her solitary and at a loose end. Harriet will be her project. Her plans are kind, she tells herself, because she will improve this uninstructed and wide-eyed young woman. We should be able to hear, however, that her designs are utterly self-serving. Soon she is persuading Harriet to refuse a marriage proposal from a farmer who loves her, and beguiling her with the wholly illusory prospect of marriage to the smooth young vicar, Mr Elton. Take another little sentence from much later in the novel. By now Emma is convinced that Harriet, scorned by Mr Elton, can be paired off with the highly eligible Frank Churchill. The only impediment seems to be the inflexible Mrs Churchill, Franks adoptive mother, who expects him to find a much grander wife. Then news arrives of Mrs Churchills sudden death. Emma meets Harriet, who has also heard. “Harriet behaved extremely well on the occasion, with great self-command. ” Obviously she is learning self-possession from her patron. “Emma was gratified to observe such a proof in her of strengthened character. ” Except that this is all twaddle. Harriet does not give a fig for Frank and never has. Emma has elaborately deluded herself again. The narration follows the path of Emmas errors. Indeed, the first-time reader will sometimes follow this path too, and then share the heroines surprise when the truth rushes upon her. Yet it is still a third-person narrative; Emma is not telling her own story. We both share her judgments and watch her making them. Austen was the first novelist to manage this alchemy. She was perfecting a technique that she had begun developing in her first published novel, Sense and Sensibility. It was only in the early 20th century that critics began agreeing on a name for it: free indirect style (a translation from the original French: style indirect libre. It describes the way in which a writer imbues a third-person narration with the habits of thought or expression of a fictional character. Before Austen, novelists chose between first-person narrative (letting us into the mind of a character, but limiting us to his or her understanding) and third-person narrative (allowing us a God-like view of all the characters, but making them pieces in an authorial game. Austen miraculously combined the internal and the external. Scholars have raked through the fiction of predecessors and contemporaries such as Fanny Burney and Maria Edgeworth, and found a few flickerings of this technique, but nothing more. In our own time, novelists use it almost as second nature, without necessarily giving it a name or thinking that they have learned it from somewhere. Yet, though its pioneer, Austen used it with an assurance that has never been surpassed. David Lodge has observed how odd Jamess condescension is, given that he came to specialise in the very technique Austen had pioneered: “Telling the story through the consciousness of characters whose understanding of events is partial, mistaken, deceived, or self-deceived. ” It has been easy for sophisticated readers – especially rival novelists – to miss her sophistication. Romola Garai as Emma in the BBCs 2009 adaptation. Photograph: BBC By the time that she began writing Emma, Austen was no longer responding to other novelists, she was in new territory, in dialogue with her own earlier novels. She had been steeped in the fiction of the 18th and early 19th centuries, and in her earliest work she wrote against the novels of sensibility or the gothic fiction that she knew so well. But in the creative furore that saw her complete her last four novels in five years, she left the conventions of existing fiction behind. She began work on Emma before she had even received the proofs of  Mansfield Park. That novels heroine, Fanny Price, was reticent, self-abnegating, powerless and often silent or absent. As if in response to her own experiment, she now created a heroine who is assertive, dominant, all too powerful. Emma Woodhouse thrusts herself forward in the novels title and its very first sentence. Her viewpoint is so dominant that it takes several readings before you realise how subtly we are invited to imagine how Emma looks to some of the other characters. How Mr Elton imagines that she is egging him on to propose to her (“I think your manners to him encouraging”, warns Mr John Knightley, to no avail. How Jane Fairfax dreads her inquisitiveness and hates her monopolising of Frank Churchill. How the Martin family must regard her as the heartless snob who has torn Harriet away from the man who loves her. All this is intimated through Emmas own glimmerings of insight – which she duly crushes. Austens narrative enacts her heroines victories over her own better self. There is, however, one carefully calculated chapter in the whole novel narrated from another characters viewpoint. Deep in the third volume, Austen jolts the reader with a chapter from Mr Knightleys point of view. It comes at a crucial point, where Frank uncharacteristically blunders by mentioning an item of parochial gossip that he can only know from his secret correspondence with Jane: Mr Perry the apothecary is getting a carriage (because he is making so much money from the maladies imaginaries of Highbury. How could he know? “It must have been a dream, ” laughs Frank. Emma is “out of hearing”, but Mr Knightley is observing. He watches as all the major characters sit down to play a word game (the novel is full of games and puzzles) and Frank selects the letters for the word “blunder”. Mr Knightley sees and suspects. “Disingenuousness and double-dealing seemed to meet him at every turn. ” The spell of Emmas consciousness has been so powerful that Austen has to wake us up for a moment. But the chapter ends with Mr Knightley suggesting to Emma that there might be some intimate “degree of acquaintance” between Frank and Jane – only to have his suspicions routed by her. “There is no admiration between them, I do assure you. ” No one can say she was not given the chance to see the truth. Austen has several different ways of getting us to read through Emma. At key moments, free indirect style becomes something closer to dramatised thought. Austen develops her own system of punctuation for this. Here is our heroine, back home after the Westons Christmas Eve dinner party, reflecting on Mr Eltons marriage proposal (“actually making violent love to her”) in the carriage home. She had persuaded herself that he was amorously interested in Harriet; worse, she had persuaded Harriet of this too. The hair was curled, and the maid sent away, and Emma sat down to think and be miserable. —It was a wretched business indeed! —Such an overthrow of every thing she had been wishing for! —Such a development of every thing most unwelcome! —Such a blow for Harriet! —that was the worst of all. Every part of it brought pain and humiliation, of some sort or other; but, compared with the evil to Harriet, all was light; and she would gladly have submitted to feel yet more mistaken—more in error—more disgraced by mis-judgment, than she actually was, could the effects of her blunders have been confined to herself. Austens idiosyncratic punctuation, that system of exclamation marks and dashes, allows for a kind of dramatised thought process. Yet because it is still in the third person, we can judge Emma even as we share her thoughts. She is a person worth our sympathy because she is capable of acknowledging and feeling sorry for her mistakes. But, by the unprecedented subtlety of Austens narrative technique, we sense that Emma regrets the scotching of her plans (“Such an overthrow of everything she had been wishing for! ”) as much as (or more than. the impending pain for Harriet. We can even hear her trying to persuade herself (“she would gladly have submitted … ”) of her unselfishness. Alan Cumming (Mr Elton) Juliet Stevenson (Mrs Elton) Polly Walker (Jane Fairfax) and Ewan McGregor (Frank Churchill) in the 1996 film, which starred Gwyneth Paltrow as Emma. Photograph: Allstar/Cinetext/Miramax The novels stylistic innovations allow it to explore not just a characters feelings, but, comically, her deep ignorance of her own feelings. Out of vanity, encouraged by the promptings of Mr and Mrs Weston, Emma has persuaded herself that Frank, whom she has never met, might be the perfect partner for her. When he finally turns up he proves handsome and humorous and intelligent. Understandably, she soon starts seeing the signs that he must be falling for her; better still, she also starts convincing herself that “she must be a little in love with him”. A few amusing confidences shared with smooth Frank Churchill, and she presumes it is the real thing. “Emma continued to entertain no doubt of her being in love. ” Her capacity for self-congratulation deceives her about even the workings of her own heart. Austen does not tell us this, as George Eliot would eloquently tell us: she simply lets us inhabit Emmas consciousness, simply lets us see the world according to Emma. Even better is her self-deception about the man whom she does love. When Mrs Weston suggests that Mr Knightleys evident admiration of Jane presages their likely marriage, the narrative tells us of Emmas response, but also stages her self-deception. She could see nothing but evil in it. It would be a great disappointment to Mr. John Knightley; consequently to Isabella. A real injury to the children—a most mortifying change, and material loss to them all;—a very great deduction from her fathers daily comfort—and, as to herself, she could not at all endure the idea of Jane Fairfax at Donwell Abbey. A Mrs. Knightley for them all to give way to! —No—Mr. Knightley must never marry. Little Henry must remain the heir of Donwell. How natural, then, that when our heroine does realise what love is, it is as a nasty shock. Her erstwhile puppet – now her Frankensteins monster – Harriet reveals that she (no longer quite so modest) has her heart set on Mr Knightley and has good reason to think that he returns her affection. Why is the idea of Harriet marrying Mr Knightley so unacceptable? “It darted through her, with the speed of an arrow, that Mr. Knightley must marry no one but herself! ” What a brilliant sentence that is! With absolute daring, Austen shows us that love can be a discovery of what a person has unknowingly felt for many a long month or year. Now, suddenly and for the first time, Emma understands the plot of her own story. But even at this moment of self-knowledge Austen lets us hear or feel the characters imperiousness, her overpowering sense that events “must” meet her desires. Which is why those who condemn the novel by saying that its heroine is a snob miss the point. Of course she is. But Austen, with a refusal of moralism worthy of Flaubert, abandons her protagonist to her snobbery and confidently risks inciting foolish readers to think that the author must be a snob too. Emmas snobbery pervades the novel, from that moment when we hear Mrs Goddard, the mistress of the little girls boarding school, and Mrs and Miss Bates described as “the most come-at-able” denizens of Highbury (meaning that they are at the beck and call of Emma and her hypochondriac father. Austen has the integrity to make Emma snobbish even when she is in the right. When Mr Elton proposes to her she recognises what the reader has always known: he is vain, cold-hearted and repulsive. But her enlightenment is also affronted dignity: But—that he should talk of encouragement, should consider her as aware of his views, accepting his attentions, meaning (in short) to marry him! —should suppose himself her equal in connexion or mind! —look down upon her friend, so well understanding the gradations of rank below him, and be so blind to what rose above, as to fancy himself shewing no presumption in addressing her! —It was most provoking. Similarly, her run-ins with Mrs Elton, some of the best comic dialogues in all fiction, show her to be perceptive and socially arrogant in equal measure. Mrs Elton, newly arrived in Highbury, visits Emma and talks of her introduction to Mr Knightley. “I must do my caro sposo the justice to say that he need not be ashamed of his friend. Knightley is quite the gentleman. I like him very much. Decidedly, I think, a very gentleman-like man. ” Only when Mrs Elton leaves can Emma “breathe” her indignation. “A little upstart, vulgar being, with her Mr. E., and her caro sposo, and her resources, and all her airs of pert pretension and underbred finery. Actually to discover that Mr. Knightley is a gentleman! I doubt whether he will return the compliment, and discover her to be a lady. I could not have believed it! And to propose that she and I should unite to form a musical club! ” Emma is right – and yet Emma too is full of herself. She even, unconsciously, uses the same vocabulary as her foe, who assures her, “I have quite a horror of upstarts”. The magnificently ghastly Mrs Elton makes herself known through her voice and, in Emma, Austen discovers new and unprecedented ways of making a human voice live in print. Some of her techniques foresee the ingenuities of modernism. When Mrs Elton picks strawberries at Mr Knightleys party at Donwell Abbey, a paragraph of fractured monologue brilliantly dramatises what must be at least half an hours worth of bossy babble. “The best fruit in England—everybodys favourite—always wholesome. These the finest beds and finest sorts. —Delightful to gather for ones self—the only way of really enjoying them. Morning decidedly the best time—never tired—every sort good—hautboy infinitely superior—no comparison—the others hardly eatable—hautboys very scarce—Chili preferred—white wood finest flavour of all—price of strawberries in London—abundance about Bristol—Maple Grove—cultivation—beds when to be renewed—gardeners thinking exactly different—no general rule—gardeners never to be put out of their way—delicious fruit—only too rich to be eaten much of—inferior to cherries—currants more refreshing—only objection to gathering strawberries the stooping—glaring sun—tired to death—could bear it no longer—must go and sit in the shade. ” A ludicrous progress from know-all enthusiasm to sun-struck exhaustion. For garrulous Miss Bates, Highburys good-hearted resident bore, Austen invents a different kind of monologic outpouring that some have called Joycean. Here is just a little sample, as Miss Bates arrives for the ball at the Crown Inn. “Thank you, my mother is remarkably well. Gone to Mr. Woodhouses. I made her take her shawl—for the evenings are not warm—her large new shawl— Mrs. Dixons wedding-present. —So kind of her to think of my mother! Bought at Weymouth, you know—Mr. Dixons choice. There were three others, Jane says, which they hesitated about some time. Colonel Campbell rather preferred an olive. My dear Jane, are you sure you did not wet your feet? —It was but a drop or two, but I am so afraid:—but Mr. Frank Churchill was so extremely—and there was a mat to step upon—I shall never forget his extreme politeness. ” And so on. There are other people here, not just listening but speaking, or trying to speak. And yet Miss Batess voice, self-generating and unstoppable, becomes for a while the only one you can hear. Emma hardly listens to her “prosing”, and there have been readers who have likewise skipped the details of her speech. But one of Austens tricks is to embed many a clue as to the real ruses of other characters in the unsuspicious outpourings of this much-ignored old maid. “What is before me, I see, ” she says, typically declaring herself incapable of perceiving what is indirect or implicit. But what she says is truer than what anyone hears: she is the reliable witness to what is really going on. Even that passage above offers clues as to what Frank is really up to. If this is a detective story, then Miss Bates is the foolish bit-part player offering the apparently trivial testimony that is dangerously ignored. Phyllida Law (Mrs Bates) and Sophie Thompson (Miss Bates) in the 1996 film. Photograph: Rex/Moviestore Collection Frank is, of course, conducting a covert romance with Jane, Miss Batess orphan niece, but he is so clever that it is easy to miss his tricks. Sharing Emmas perspective, we sometimes get fooled too. Perhaps on a second reading of the novel we are properly suspicious of Franks motives in volunteering to mend the rivet in Mrs Batess spectacles: Jane is staying at the Batess tiny flat and he is always finding excuses to visit. But it will probably take more than two readings for most readers to notice how he has managed to get Miss Bates out of the flat – she bustles over the street to invite Emma in – so that he is alone with Jane and the sleeping (and stone deaf) old Mrs Bates. When we enter the front door with Emma we see through her eyes. The appearance of the little sitting-room as they entered, was tranquillity itself; Mrs. Bates, deprived of her usual employment, slumbering on one side of the fire, Frank Churchill, at a table near her, most deedily occupied about her spectacles, and Jane, standing with her back to them, intent on her pianoforte. Emma sees nothing untoward – but what has really been going on? Why is Frank so “deedily occupied” and Jane “intent” on a musical instrument? Surely they have been in a close embrace. It is as if there is a Charlotte Brontë story going on under Emmas nose. “The Passions are perfectly unknown to her, ” Brontë declared, sounding like a character whom Austen would have delighted in depicting. She had been recommended Pride and Prejudice by George Eliots partner, George Henry Lewes, who was partly responsible for Eliot holding Austen in higher regard than most of the other great novelists of the 19th century. Lewess 1859 essay in Blackwoods Magazine is still one of the most perceptive analyses of Austens powers. But instead of description, the common and easy resource of novelists, she has the rare and difficult art of dramatic presentation: instead of telling us what her characters are, and what they feel, she presents the people, and they reveal themselves. In this she has never perhaps been surpassed, not even by Shakespeare himself. Yet Lewes was rare among serious writers in giving her this status. But then, with Emma, Austen almost seems to be tempting inattentive readers to overlook her technical audacity – to miss her tricks. None of Austens novels is as full of tricks as Emma, and many of them are carefully concealed to reward the rereader. I remember the moment, after many readings over the years, when I finally saw what she was doing with Mr Perry, the apothecary. Everyone is always quoting him, especially Emmas valetudinarian father Mr Woodhouse: “as Perry says …”; “… This is just what Perry said”; “Ah! my dear, but Perry had many doubts about the sea doing her any good. ” Mr Perry is always being spotted passing by (all those lucrative house calls) and his views are always being reported. Yet not a single word that he ever says is actually given us in the novel. Of course not! He is the echo to every persons existing prejudices; no wonder he is so successful. It is a joke buried by Austen for posterity to discover. As she told her sister Cassandra, she only wrote for those who had “a great deal of ingenuity themselves”. • What Matters in Jane Austen. Twenty Crucial Puzzles Solved by John Mullan is published by Bloomsbury.

Emmy awards. YouTube. Emma mae. Critics Consensus No consensus yet. 100% TOMATOMETER Total Count: 7 Coming soon Release date: Feb 21, 2020 Audience Score Ratings: Not yet available Emma. Ratings & Reviews Explanation Emma. Videos Photos Movie Info Jane Austen's beloved comedy about finding your equal and earning your happy ending, is reimagined in this delicious new film adaptation of EMMA. Handsome, clever, and rich, Emma Woodhouse is a restless queen bee without rivals in her sleepy little town. In this glittering satire of social class and the pain of growing up, Emma must adventure through misguided matches and romantic missteps to find the love that has been there all along. Rating: NR Genre: Directed By: Written By: In Theaters: Feb 21, 2020 limited Studio: Focus Features Cast Critic Reviews for Emma. Audience Reviews for Emma. There are no featured reviews for Emma. because the movie has not released yet (Feb 21, 2020. See Movies in Theaters Emma. Quotes Movie & TV guides.

Emma watson singing. I like to wear toronto mable leaf uniform blue and white also i like toronto blue jays cap. From Wikipedia, the free encyclopedia Jump to navigation Jump to search Look up Emma  or emma in Wiktionary, the free dictionary. Emma may refer to: Name [ edit] Emma (given name) Culture [ edit] Publications [ edit] Emma (novel) an 1815 novel by Jane Austen Emma Brown, a fragment of a novel by Charlotte Brontë, completed by Clare Boylan in 2003 Emma (Kenyon novel) a 1955 novel by F. W. Kenyon Emma: A Modern Retelling, a 2015 novel by Alexander McCall Smith Emma (manga) a 2002 manga by Kaoru Mori and the adapted Japanese animated series EMMA (magazine) a German feminist journal, published by Alice Schwarzer Film [ edit] Emma (1932 film) a comedy-drama film directed by Clarence Brown Emma (1996 theatrical film) a period comedy film based on Austen's novel starring Gwyneth Paltrow Emma (1996 TV film) a British television film based on Austen's novel starring Kate Beckinsale Emma (2020 film) a British drama film based on Austen's novel starring Anya Taylor-Joy Television [ edit] Emma (1972 TV serial) British TV serial from 1972, based on Austen's novel, with Doran Godwin as Emma Emma (anime) a Japanese television series subtitled "A Victorian Romance" broadcast in various Asian nations in 2005 and 2007 Emma (2009 TV serial) British TV serial from 2009, based on Austen's novel, with Romola Garai as Emma Music [ edit] E. M. A., a Swedish girl group (2001–2005) Songs [ edit] Emma" a song by Australian rock group Little River Band from their 1975 debut self titled album "Emma" a song by Alkaline Trio from their 2003 album Good Mourning "Emma" a song by Jonathan Edwards off his self-titled album "Emma" song) a 1974 song by Hot Chocolate Performers [ edit] Emma (Welsh singer) born 1974) a Welsh singer Emma Marrone (born 1984) an Italian singer often billed as "Emma" Other uses [ edit] Emma, a keytar instrument used by Lady Gaga on the Monster Ball Tour Emma-gaala, a Finnish music award Emma Frost, a Marvel comic book character Emma (play) a 1976 play by Howard Zinn about Emma Goldman Places [ edit] Emma, Indiana, a community in the United States Emma, Illinois Emma, Kentucky Emma, Louisiana Emma, Missouri, a town in the United States Emma, West Virginia Religion [ edit] Yama (Buddhism and Chinese mythology) Buddhist god of death, also known as Enma Saint Emma (disambiguation) name of several saints People [ edit] Emma (wrestler) born 1989) a ring name of the Australian wrestler Tenille Dashwood Royalty [ edit] Emma of Austrasia, daughter of Theudebert II and possibly wife of Eadbald of Kent Emma of Normandy (c. 985–1052) twice Queen consort of the Kingdom of England by marriage Emma of Waldeck and Pyrmont (1858–1934) Queen consort of William III of the Netherlands and Grand Duke of Luxembourg Queen Emma of Hawaii (1836–1885) queen to King Kamehameha IV from 1856 to his death in 1863 Transportation [ edit] Emma (ship) one of several ships of that name Emma Mærsk, first in the Maersk E-class 11, 000-TEU container ships HMS Queen Emma, a troopship of the Royal Navy during the Second World War USS  Emma, several United States Navy ships Weather [ edit] Emma (storm) a European windstorm in March 2008 Tropical Storm Emma (disambiguation) several tropical cyclones in the northwest Pacific Ocean, southwest Indian Ocean and southwest Pacific Ocean 283 Emma, a main belt asteroid in the Solar System EMMA (code coverage tool) a Java code coverage tool Ethnic Multicultural Media Academy, an organization that raises awareness of discrimination EMMA (accelerator) the "Electron Machine with Many Applications" EMMA, an abbreviation for the Espoo Museum of Modern Art in Finland Emma, a nickname for the Soviet Degtyaryov machine gun of 1928 Emmanuel College, Cambridge, affectionately called Emma, is a constituent college of Cambridge University Experiment with MultiMuon Array (EMMA) Electronic Municipal Market Access system (EMMA) an on-line source for municipal securities information See also [ edit] All pages with titles beginning with Emma All pages with titles containing Emma.

Emma Title page of first edition, volume 1 of 3 Author Jane Austen Country United Kingdom Language English Genre Novel of manners Published 23 December 1815 [1] title page gives 1816) John Murray Preceded by Mansfield Park   Followed by Northanger Abbey Emma, by Jane Austen, is a novel about youthful hubris and the perils of misconstrued romance. The story takes place in the fictional village of Highbury and the surrounding estates of Hartfield, Randalls, and Donwell Abbey and involves the relationships among individuals in those locations consisting of "3 or 4 families in a country village. 2] The novel was first published in December 1815, with its title page listing a publication date of 1816. As in her other novels, Austen explores the concerns and difficulties of genteel women living in Georgian – Regency England; she also creates a lively comedy of manners among her characters and depicts issues of marriage, gender, age, and social status. Before she began the novel, Austen wrote, I am going to take a heroine whom no one but myself will much like. 3] In the first sentence, she introduces the title character as "Emma Woodhouse, handsome, clever, and rich, with a comfortable home and a happy disposition. and had lived nearly twenty-one years in the world with very little to distress or vex her. 4] Emma is spoiled, headstrong, and self-satisfied; she greatly overestimates her own matchmaking abilities; she is blind to the dangers of meddling in other people's lives; and her imagination and perceptions often lead her astray. Emma, written after Austen's move to Chawton, was the last novel to be completed and published during her life, 5] as Persuasion, the last novel Austen wrote, was published posthumously. This novel has been adapted for several films, many television programmes, and a long list of stage plays. It is also the inspiration for several novels. Plot summary [ edit] Emma Woodhouse has just attended the wedding of Miss Taylor, her lovely friend and former governess, to Mr. Weston. Having introduced them, Emma takes credit for their marriage and decides that she likes matchmaking. After she returns home to Hartfield with her father, Emma forges ahead with her new interest against the advice of her sister's brother-in-law, Mr. Knightley, and tries to match her new friend Harriet Smith to Mr. Elton, the local vicar. First, Emma must persuade Harriet to refuse the marriage proposal from Robert Martin, a respectable, educated, and well-spoken young farmer, which Harriet does against her own wishes. However, Mr. Elton, a social climber, thinks that Emma is in love with him and proposes to her. When Emma tells him that she had thought him attached to Harriet, he is outraged. After Emma rejects him, Mr. Elton leaves for a stay at Bath and returns with a pretentious, nouveau-riche wife, as Mr. Knightley expected. Harriet is heartbroken, and Emma feels ashamed about misleading her. Frank Churchill, Mr. Weston's son, arrives for a two-week visit to his father and makes many friends. Frank was adopted by his wealthy and domineering aunt, and he has had very few opportunities to visit before. Mr. Knightley suggests to Emma that, while Frank is intelligent and engaging, he is also a shallow character. Jane Fairfax also comes home to see her aunt, Miss Bates, and grandmother, Mrs. Bates, for a few months, before she must go out on her own as a governess due to her family's financial situation. She is the same age as Emma and has been given an excellent education by her father's friend, Colonel Campbell. Emma has not been as friendly with her as she might because she envies Jane's talent and is annoyed to find all, including Mrs. Weston and Mr. Knightley, praising her. The patronizing Mrs. Elton takes Jane under her wing and announces that she will find her the ideal governess post before it is wanted. Emma begins to feel some sympathy for Jane's predicament. Emma decides that Jane and Mr. Dixon, Colonel Campbell's new son-in-law, are mutually attracted, and that is why she has come home earlier than expected. She shares her suspicions with Frank, who met Jane and the Campbells at a vacation spot a year earlier, and he apparently agrees with her. Suspicions are further fueled when a piano, sent by an anonymous benefactor, arrives for Jane. Emma feels herself falling in love with Frank, but it does not last to his second visit. The Eltons treat Harriet poorly, culminating with Mr. Elton publicly snubbing Harriet at the ball given by the Westons in May. Knightley, who had long refrained from dancing, gallantly steps in to dance with Harriet. The day after the ball, Frank brings Harriet to Hartfield; she had fainted after a rough encounter with local gypsies. Harriet is grateful, and Emma thinks this is love, not gratitude. Meanwhile, Mrs. Weston wonders if Mr. Knightley has taken a fancy to Jane, but Emma dismisses that idea. When Mr. Knightley mentions the link he sees between Jane and Frank, Emma denies them, while Frank appears to be courting her instead. He arrives late to the gathering at Donwell in June, while Jane leaves early. Next day at Box Hill, a local beauty spot, Frank and Emma continue to banter together and Emma, in jest, thoughtlessly insults Miss Bates. 1898 illustration of Mr. Knightley and Emma Woodhouse, Volume III chapter XIII When Mr. Knightley scolds Emma for the insult to Miss Bates, she is ashamed and tries to atone with a morning visit to Miss Bates, which impresses Mr. Knightley. On the visit, Emma learns that Jane had accepted the position of governess from one of Mrs. Elton's friends after the outing. Jane now becomes ill and refuses to see Emma or receive her gifts. Meanwhile, Frank was visiting his aunt, who dies soon after he arrives. Now he and Jane reveal to the Westons that they have been secretly engaged since the autumn, but Frank knew that his aunt would disapprove. The strain of the secrecy on the conscientious Jane had caused the two to quarrel, and Jane ended the engagement. Frank's easygoing uncle readily gives his blessing to the match, and the engagement becomes public, leaving Emma chagrined to discover that she had been so wrong. Emma is confident that Frank's engagement will devastate Harriet, but instead, Harriet tells her that she loves Mr. Knightley, although she knows the match is too unequal, Emma's encouragement and Mr. Knightley's kindness have given her hope. Emma is startled and realizes that she is the one who wants to marry Mr. Knightley returns to console Emma from Frank and Jane's engagement thinking her heartbroken. When she admits her foolishness, he proposes, and she accepts. Now Harriet accepts Robert Martin's second proposal, and they are the first couple to marry. Jane and Emma reconcile, and Frank and Jane visit the Westons. Once the period of deep mourning ends, they will marry. Before the end of November, Emma and Mr. Knightley are married with the prospect of "perfect happiness. Principal characters [ edit] Emma Woodhouse, the protagonist of the story, is a beautiful, high-spirited, intelligent, and 'slightly' spoiled young woman from the landed gentry. She is twenty when the story opens. Her mother died when she was young. She has been mistress of the house (Hartfield) since her older sister got married. Although intelligent, she lacks the discipline to practice or study anything in depth. She is portrayed as compassionate to the poor, but at the same time has a strong sense of class status. Her affection for and patience towards her valetudinarian father are also noteworthy. While she is in many ways mature, Emma makes some serious mistakes, mainly due to her lack of experience and her conviction that she is always right. Although she has vowed she will never marry, she delights in making matches for others. She has a brief flirtation with Frank Churchill; however, she realises at the end of the novel that she loves Mr Knightley. George Knightley is a neighbour and close friend of Emma, aged 37 years (16 years older than Emma. He is her only critic. Mr Knightley is the owner of the estate of Donwell Abbey, which includes extensive grounds and farms. He is the elder brother of Mr John Knightley, the husband of Emma's elder sister Isabella. He is very considerate, aware of the feelings of the other characters and his behaviour and judgement is extremely good. Mr Knightley is furious with Emma for persuading Harriet to turn down Mr Martin, a farmer on the Donwell estate; he warns Emma against pushing Harriet towards Mr Elton, knowing that Mr Elton seeks a bride with money. He is suspicious of Frank Churchill and his motives; he suspects that Frank has a secret understanding with Jane Fairfax. Frank Churchill, Mr Weston's son by his first marriage, is an amiable young man, who at age 23 is liked by almost everyone, although Mr Knightley sees him as immature and selfish for failing to visit his father after his father's wedding. After his mother's death, he was raised by his wealthy aunt and uncle, the Churchills, at the family estate Enscombe. His uncle was his mother's brother. By his aunt's decree, he assumed the name Churchill on his majority. Frank is given to dancing and living a carefree, gay life and is secretly engaged to Miss Fairfax at Weymouth, although he fears his aunt will forbid the match because Jane is not wealthy. He manipulates and plays games with the other characters to ensure his engagement to Jane remain concealed. Jane Fairfax is an orphan whose only family consists of her aunt, Miss Bates, and her grandmother, Mrs Bates. She is a beautiful, bright, and elegant woman, with the best of manners. She is the same age as Emma. She is extraordinarily well-educated and talented at singing and playing the piano; she is the sole person whom Emma envies. An army friend of her late father, Colonel Campbell, felt responsible for her, and has provided her with an excellent education, sharing his home and family with her since she was nine years old. She has little fortune, however, and is destined to become a governess – a prospect she dislikes. The secret engagement goes against her principles and distresses her greatly. Harriet Smith, a young friend of Emma, just seventeen when the story opens, is a beautiful but unsophisticated girl. She has been a parlour boarder at a nearby school, where she met the sisters of Mr Martin. Emma takes Harriet under her wing early on, and she becomes the subject of Emma's misguided matchmaking attempts. She is revealed in the last chapter to be the natural daughter of a decent tradesman, although not a gentleman. Harriet and Mr Martin are wed. The now wiser Emma approves of the match. Robert Martin is a well-to-do, 24-year-old farmer who, though not a gentleman, is a friendly, amiable and diligent young man, well esteemed by Mr George Knightley. He becomes acquainted and subsequently smitten with Harriet during her 2-month stay at Abbey Mill Farm, which was arranged at the invitation of his sister, Elizabeth Martin, a school friend of Harriet's. His first marriage proposal, in a letter, is rejected by Harriet under the direction and influence of Emma, an incident which puts Mr Knightley and Emma in a disagreement with one another) who had convinced herself that Harriet's class and breeding were above associating with the Martins, much less marrying one. His second proposal of marriage is later accepted by a contented Harriet and approved by a wiser Emma; their joining marks the first out of the three happy couples to marry in the end. Philip Elton is a good-looking, initially well-mannered, and ambitious young vicar, 27 years old and unmarried when the story opens. Emma wants him to marry Harriet; however, he aspires to secure Emma's hand in marriage to gain her dowry of 30, 000. Mr Elton displays his mercenary nature by quickly marrying another woman of lesser means after Emma rejects him. Augusta Elton, formerly Miss Hawkins, is Mr Elton's wife. She has 10, 000 pounds, but lacks good manners, committing common vulgarities such as using people's names too intimately (as in "Jane" not "Miss Fairfax. Knightley" not "Mr Knightley. She is a boasting, pretentious woman who expects her due as a new bride in the village. Emma is polite to her but does not like her. She patronises Jane, which earns Jane the sympathy of others. Her lack of social graces shows the good breeding of the other characters, particularly Miss Fairfax and Mrs Weston, and shows the difference between gentility and money. Mrs Weston was Emma's governess for sixteen years as Miss Anne Taylor and remains her closest friend and confidante after she marries Mr Weston. She is a sensible woman who loves Emma. Mrs Weston acts as a surrogate mother to her former charge and, occasionally, as a voice of moderation and reason. The Westons and the Woodhouses visit almost daily. Near the end of the story, the Westons' baby Anna is born. Mr. Weston is a widower and a business man living in Highbury who marries Miss Taylor in his early 40s, after he bought the home called Randalls. By his first marriage, he is father to Frank Weston Churchill, who was adopted and raised by his late wife's brother and his wife. He sees his son in London each year. He married his first wife, Miss Churchill, when he was a Captain in the militia, posted near her home. Mr Weston is a sanguine, optimistic man, who enjoys socialising, making friends quickly in business and among his neighbours. Miss Bates is a friendly, garrulous spinster whose mother, Mrs Bates, is a friend of Mr Woodhouse. Her niece is Jane Fairfax, daughter of her late sister. She was raised in better circumstances in her younger days as the vicar's daughter; now she and her mother rent rooms in the home of another in Highbury. One day, Emma humiliates her on a day out in the country, when she alludes to her tiresome prolixity. Mr Henry Woodhouse, Emma's father, is always concerned for his health, and to the extent that it does not interfere with his own, the health and comfort of his friends. He is a valetudinarian (i. e., similar to a hypochondriac but more likely to be genuinely ill. He assumes a great many things are hazardous to his health. His daughter Emma gets along with him well, and he loves both his daughters. He laments that "poor Isabella" and especially "poor Miss Taylor" have married and live away from him. He is a fond father and fond grandfather who did not remarry when his wife died; instead he brought in Miss Taylor to educate his daughters and become part of the family. Because he is generous and well-mannered, his neighbors accommodate him when they can. Isabella Knightley (née Woodhouse) is the elder sister of Emma, by seven years, and daughter of Henry. She is married to John Knightley. She lives in London with her husband and their five children (Henry, little' John, Bella, little' Emma, and George. She is similar in disposition to her father and her relationship to Mr. Wingfield, her and her family's physician) mirrors that of her father's to Mr. Perry. John Knightley is Isabella's husband and George's younger brother, 31 years old (10 years older than Jane Fairfax and Emma. He is an attorney by profession. Like the others raised in the area, he is a friend of Jane Fairfax. He greatly enjoys the company of his family, including his brother and his Woodhouse in-laws, but is not the very sociable sort of man who enjoys dining out frequently. He is forthright with Emma, his sister-in-law, and close to his brother. Minor characters [ edit] Mr. Perry is the apothecary in Highbury who spends a significant amount of time responding to the health issues of Mr. Woodhouse. He and Mrs. Perry have several children. He is also the subject of a discussion between Miss Bates and Jane Fairfax that is relayed in a letter to Mr. Frank Churchill that he inadvertently discloses to Emma. He is described as an "telligent, gentlemanlike man, whose frequent visits were one of the comforts of Mr. Woodhouse's life. [6] Mrs. Bates is the widow of the former vicar of Highbury, the mother of Miss Bates and the grandmother of Jane Fairfax. She is old and hard of hearing, but is a frequent companion to Mr. Woodhouse when Emma attends social activities without him. Mr. Mrs. Cole have been residents of Highbury who had been there for several years, but have recently benefited from a significant increase in their income that has allowed them to increase the size of their house, number of servants and other expenses. In spite of their "low origin" in trade, their income and style of living has made them the second most prominent family in Highbury, the most senior being the Woodhouses at Hartfield. They host a dinner party that is a significant plot element. Mrs. Churchill was the wife of the brother of Mr. Weston's first wife. She and her husband, Mr. Churchill, live at Enscombe and raised Mr. Weston's son, Mr. Frank Churchill. Although never seen directly, she makes demands on Frank Churchill's time and attention that prevent him from visiting his father. Her disapproval is the reason that the engagement between Frank Churchill and Jane Fairfax is kept secret. Her death provides the opportunity for the secret to be revealed. Colonel and Mrs. Campbell were friends of Jane Fairfax's late father. After a period of time when Jane was their guest for extended visits, they offered to take over her education in preparation for potentially serving as a governess when she grew up. They provided her every advantage possible, short of adopting, and were very fond of her. Mrs. Goddard is the mistress of a boarding school for girls in which Harriet Smith is one of the students. She is also a frequent companion to Mr. Woodhouse along with Mrs. Bates. Mr. William Larkins is an employee on the Donwell Abbey estate of Mr. He frequently visits the Bateses, bringing them gifts, such as apples, from Mr. Knightley. Publication history [ edit] Title page from 1909 edition of Emma. Emma was written after the publication of Pride and Prejudice and was submitted to the London publisher John Murray II in the autumn of 1815. He offered Austen 450 for this plus the copyrights of Mansfield Park and Sense and Sensibility, which she refused. Instead, she published two thousand copies of the novel at her own expense, retaining the copyright and paying a 10% commission to Murray. The publication in December 1815 (dated 1816) consisted of a three-volume set in duodecimo at the selling price of 1. 1s (one guinea) per set. [7] Prior to publication, Austen's novels had come to the attention of the Prince Regent, whose librarian at Carlton House, a Mr. Clarke, showed her around the Library at the Prince Regent's request, and who suggested a dedication to the Prince Regent in a future publication. This resulted in a dedication of Emma to the Prince Regent at the time of publication and a dedication copy of the novel sent to Carlton House in December 1815. [8] In America, copies of this first publication were sold in 1818 for 4 per copy, as well as an American edition published by Mathew Carey of Philadelphia in 1816. The number of copies of this edition are not known. A later American edition was published in 1833 [9] and again in 1838 by Carey, Lea, and Blanchard. [10] A French version was published in 1816 by Arthus Bertrand, publisher for Madame Isabelle De Montolieu. [11] A second French version for the Austrian market was published in 1817 Viennese publisher Schrambl. [12] Richard Bentley reissued Emma in 1833, along with Austen's five other novels, in his series of Standard Novels. This issue did not contain the dedication page to the Prince Regent. [13] These editions were frequently reprinted up until 1882 with the final publication of the Steventon Edition. [14] Emma has remained in continuous publication in English throughout the remainder of the nineteenth century and into the twentieth and twenty-first centuries. In addition to the French translation already mentioned, Emma was translated into Swedish and German in the nineteenth century and into fifteen other languages in the twentieth century including Arabic, Chinese, Danish, Dutch, German and Italian. [15] Reception [ edit] Prior to publishing, John Murray's reader, William Gifford, who was also the editor of the Quarterly Review, said of the novel that "Of Emma I have nothing but good to say. I was sure of the writer before you mentioned her. The MS though plainly written has yet some, indeed many little omissions, and an expression may not and then be amended in passing through the press. I will readily undertake the revision. 16] Early reviews of Emma were generally favourable, and were more numerous than those of any other of Austen's novels. [17] One important review, requested by John Murray prior to publication by Sir Walter Scott, appeared anonymously in March 1816 in the Quarterly Review, although the date of the journal was October 1815. [18] 17] He writes: 19] The author is already known to the public by the two novels announced in her title page, and both, the last especially, attracted, with justice, an attention from the public far superior to what is granted to the ephemeral productions which supply the regular demand of watering- places and circulating libraries. They belong to a class of fictions which has arisen almost in our own times, and which draws the characters and incidents introduced more immediately from the current of ordinary life than was permitted by the former rules of the novel. Emma has even less story than either of the preceding author's knowledge of the world, and the peculiar tact with which she presents characters that the reader cannot fail to recognize, reminds us something of the merits of the Flemish school of painting. The subjects are not often elegant, and certainly never grand: but they are finished up to nature, and with a precision which delights the reader. Two other unsigned reviews appeared in 1816, one in The Champion, also in March, and another in September of the same year in Gentleman's Magazine. [20] Other commenters include Thomas Moore, the Irish poet, singer and entertainer who was a contemporary of Austen's; he wrote to Samuel Rogers, an English poet, in 1816: 21] Let me entreat you to read Emma - it is the very perfection of novel-writing - and I cannot praise it more highly than by saying it is often extremely like your own method of describing things - so much effect with so little effort! A contemporary Scottish novelist, Susan Edmonstone Ferrier, wrote to a friend, also in 1816: 22] I have been reading Emma, which is excellent; there is no story whatever, and the heroine is not better than other people; but the characters are all true to life and the style so piquant, that it does not require the adventitious aids of mystery and adventure. " There was some criticism about the lack of story. John Murray remarked that it lacked "incident and Romance. 23] Maria Edgeworth, the author of Belinda, to whom Austen had sent a complimentary copy, wrote: 23] there was no story in it, except that Miss Emma found that the man whom she designed for Harriet's lover was an admirer of her own – & he was affronted at being refused by Emma & Harriet wore the willow – and smooth, thin water-gruel is according to Emma's father's opinion a very good thing & it is very difficult to make a cook understand what you mean by smooth, thin water-gruel! Austen also collected comments from friends and family on their opinions of Emma. [24] Writing several years later, John Henry Newman observed in a letter about the novel: 25] Everything Miss Austen writes is clever, but I desiderate something. There is a want of body to the story. The action is frittered away in over-little things. There are some beautiful things in it. Emma herself is the most interesting to me of all her heroines. I feel kind to her whenever I think of other women, Fairfax, is a dolt- but I like Emma. Later reviewers or commenters on the novel include Charlotte Brontë, George Henry Lewes, Juliet Pollock, Anne Ritchie, Henry James, Reginald Farrer, Virginia Woolf, and E. M. Forste r. [26] Other reviewers include Thomas Babington Macauley who considered Austen to be a "Prose Shakespeare. 27] and Margaret Oliphant who stated in Blackwood's Edinburgh Magazine in March that she prefers Emma to Austen's other works and that it is "the work of her mature mind. 28] Although Austen's Pride and Prejudice is usually recognized as the author's masterpiece, critics such as Susan Morgan of Stanford University have placed Emma as being their personal favourite among all of Austen's novels [29] and John Mullan has argued that Emma was a revolutionary novel which changed the shape of what is possible in fiction" because "The novel bent narration through the distorting lens of its protagonists mind" 30. Themes [ edit] Highbury as a character [ edit] The British critic Robert Irvine wrote that unlike Austen's previous novels, the town of Highbury in Surrey emerges as a character in its own right. [31] Irvine wrote that: In Emma, we find something much closer to a genuinely communal voice, a point of view at work in the narrative that cannot be reduced to the subjectivity of any one character. This point of view appears both as something perceived by Emma, an external perspective on events and characters that the reader encounters as and when Emma recognises it; and as an independent discourse appearing in the text alongside the discourse of the narrator and characters. 31] Irvine used as an example the following passage: The charming Augusta Hawkins, in addition to all the usual advantages of perfect beauty and merit, was in possession of as many thousands as would always be called ten; a point of some dignity, as well as some convenience: the story told well; he had not thrown himself away-he had gained a woman of 10, 000 or therebouts; and he had gained with delightful rapidity-the first hour of introduction he had been so very soon followed by distinguishing notice; the history which he had to give Mrs. Cole of the rise and progress of the affair was so glorious. 32] Irvine points out the adjective "charming" appears to the narrator speaking, but notes the sentence goes on to associate "perfect" with "usual" which he pointed out was an incongruity. [33] Irvine suggested the next sentence "would always be called ten" is in fact the voice of the community of Highbury, which wants the fiancée of Mr. Elton to be "perfect" whom the narrator sarcastically calls the "usual" sort of community gossip is about a new arrival in Highbury, whom everyone thinks is "charming. 33] Since the character of Mrs. Elton is in fact far from "charming" the use of the term "charming" to describe her is either the gossip of Highbury and/or the narrator being sarcastic. [33] Likewise, the Australian school John Wiltshire wrote one of Austen's achievements to "give depth" to the "Highbury world. 34] Wiltshire noted that Austen put the population of Highbury as 352 people, and wrote though clearly most of these people don't appear as characters or as minor characters at best, that Austen created the impression of Highbury as a "social commonwealth. 34] Wiltshire used as an example of Mr. Perry, the town doctor who is frequently mentioned in the town gossip, but never appears in the book, having a "kind of familiarity by proxy. 34] Wiltshire also noted that the scene where Emma and Harriet visit a poor cottage on the outskirts of Highbury, and during their walk, it is made clear from Emma's remarks that this part of Highbury is not her Highbury. [34] The character of Frank is a member of the "discursive community" of Highbury long before he actually appears, as his father tells everyone in Highbury about him. [33] Emma forms her judgement of Frank based on what she hears about him in Highbury before she meets him. [35] Irvine wrote that Austen's use of three different voices in Emma —the voice of Highbury, the narrator's voice, and Emma's voice, can at times make it very confusing to the reader about just whom is actually speaking. [35] However, Irvine wrote that one accepts that the voice of Highbury is often speaking, then much of the book makes sense, as Emma believes she has a power that she does not, to make Frank either love or not via her interest or indifference, which is explained as the result of the gossip of Highbury, which attributes Emma this power. [35] This is especially the case as Emma is born into the elite of Highbury, which is portrayed as a female-dominated world. [36] Irvine wrote that Elizabeth Bennet in Pride and Prejudice and Fanny Price in Mansfield Park enjoy the moral authority of being good women, but must marry a well-off man to have the necessary social influence to fully use this moral authority whereas Emma is born with this authority. [36] Emma herself acknowledges this when she says to Harriet that she possesses: none of the usual inducements to rtune I do not want; employment I do not want; consequence I do not want. 36] However, political power still resides with men in the patriarchal society of Regency England as the book notes that Mr. Knightley is not only a member of the gentry, but also serves as the magistrate of Highbury. [36] Emma clashes with Knightley at the beginning of the novel over the all-important "distinctions of rank" namely does Harriet Smith belong with the yeoman class together with Robert Martin, or the gentry class that Emma and Knightley are both part of. [37] Knightley declares his respect for both Smith and Martin, but argues that as part of the yeomen class, that neither belongs with the gentry, while Emma insists on including her best friend/protegee in with the gentry. [38] In Regency England and in Emma, the term friendship describes a power relationship where one higher party can do favors for the lower party while the term "claim intimacy" is a relationship of equals. [38] Mrs. Elton has "friendship" with Jane Fairfax while "claims intimacy" with Mr. [39] The use of the these terms "friendship" and "claim intimacy" refers to the question of who belongs to the local elite. [40] Neither Emma nor Mr. Knightley question the right of the elite to dominate society, but rather their power struggle is over who belongs to the elite, and who has the authority to make the decision about whom to include and whom to exclude, which shows that in a certain sense that Emma is just as powerful socially as is Mr. [41] Further complicating this power struggle is the arrival of Mrs. Elton, who attempts to elevate Jane Fairfax into the elite. [41] This is a cruel struggle as Jane is not rich enough to properly belong to the elite, and Mrs. Elton is showing Jane a world to which she can never really belong, no matter how many parties and balls she attends. [41] In addition to her annoyance at Mrs. Elton's relationship with Jane, Emma finds Mrs. Elton an "upstart. under-bred" and "vulgar" which adds venom to the dispute between the two women. [42] Mrs. Elton is only a first generation gentry, as her father bought the land that she grew up on with money he had raised in trade. Her snobbery is therefore that of a nouveau riche, desperately insecure of her status. [42] When Mrs. Elton boasted that her family had owned their estate for a number of years, Emma responds that a true English gentry family would count ownership of their estate in generations, not years. [42] Of Emma's two rivals for social authority, one shares a common class while the other a common sex. [42] The marriage of Emma to Mr. Knightley consolidates her social authority by linking herself to the dominant male of Highbury and pushes Mrs. Elton's claims aside. [42] Irvine wrote: On this view, and in contrast to Austen's two previous novels, Emma works to legitimate established gentry power defined in opposition to an autonomous feminine authority over the regulation of social relations, and not through the vindication of such autonomous authority. 42] However, as the novel goes, such a reading is countered by the way that Emma begins to take in the previously excluded into the realm of the elite, such as visiting the poor Miss Bates and her mother, and the Coles, whose patriarch is a tradesman. [42] Likewise, Jane Fairfax, who is too poor to live off her wealth and must work forever as a governess, which excludes her from the female social elite of Highbury, does marry well after all, which makes her the story of one real feminine worth triumphing over the lack of wealth in Emma. [43] Gendered space [ edit] Wiltshire wrote about Austen's use of "gendered space" in Emma, noting the female characters have a disproportionate number of scenes in the drawing rooms of Highbury while the male characters often have scenes outdoors. [44] Wiltshire noted that Jane Fairfax cannot walk to the post office in the rain to pick up the mail without becoming the object of town gossip while Mr. Knightley can ride all the way to London without attracting any gossip. [44] Wiltshire described the world that the women of Highbury live in as a sort of prison, writing that in the novel. s imprisonment is associated with deprivation, with energies and powers perverted in their application, and events, balls and outings are linked with the arousal and satisfaction of desire. 44] Wealth [ edit] Emma unlike other heroines in Jane Austen's novels is a wealthy young lady having a personal fortune amounting to 30, 000. Therefore, there is little pressure on her to find a wealthy partner. Nationhood and the "Irish Question. edit] The novel is set in England, but there are several references to Ireland, which were related to the ongoing national debate about the "Irish Question. 45] In 1801, the Act of Union had brought Ireland into the United Kingdom, but there was a major debate about what was Ireland's precise status in the United Kingdom; another kingdom, province or a colony? 45] Austen satirizes this debate by having Miss Bates talk about Mrs. Dixon's new house in Ireland, a place that she cannot decide is a kingdom, a country or a province, but is merely very "strange" whatever its status may be. [45] Austen also satirized the vogue for "Irish tales" that become popular after the Act of Union as English writers started to produce picturesque, romantic stories set in Ireland to familiarize the English people with the newest addition to the United Kingdom. [46] The travel itinerary that Miss Bates sketches out for the Campbells' visit to Ireland is satire of a typical "Irish tale" novel, which was Austen's way of mocking those who had a superficial appreciation of Irish culture by buying the "Irish tales" books that presented Ireland in a very stereotypical way. [45] Austen further alludes to the Society of United Irishmen uprising in 1798 by having the other characters worry about what might happen to the Dixons when they visit a place in the Irish countryside called "Baly-craig" which appears to be Ballycraig in County Antrim in what is now Northern Ireland, which had been the scene of much bloody fighting between the United Irishmen Society and the Crown in 1798, an enduring testament to Ireland's unsettled status with much of the Irish population not accepting British rule. [47] The American scholar Colleen Taylor wrote about Austen's treatment of the "Irish Question. That Emma applies a distant and fictionalized Irish space to her very limited and dissimilar English circle, turning a somewhat ordinary English young woman, Jane Fairfax, into an Irish scandal, proves that the object of English humor is- for once- not the stage Irishman but the privileged English woman who presumes to know what he and his culture are really like. 45] Romance [ edit] In contrast to other Austen heroines, Emma seems immune to romantic attraction, at least until her final self-revelation concerning her true affections. Unlike Marianne Dashwood, who is attracted to the wrong man before she settles on the right one, Emma generally shows no romantic interest in the men she meets and even her flirting with Churchill seems tame. She is genuinely surprised (and somewhat disgusted) when Mr Elton declares his love for her, much in the way Elizabeth Bennet reacts to the obsequious Mr Collins, also a parson. Her fancy for Frank Churchill represents more of a longing for a little drama in her life than a longing for romantic love. For example, at the beginning of Chapter XIII, Emma has "no doubt of her being in love" but it quickly becomes clear that, even though she spends time "forming a thousand amusing schemes for the progress and close of their attachment" we are told that "the conclusion of every imaginary declaration on his side was that she refused him. 48] It is only Mr Knightley who can willingly share the burden of Emma's father, as well as providing her with guidance, love and companionship. He has been in love with her since she was 13 years old, but neither he nor she have realized that there is a natural bond between them. He declares his love for her: What did she say? Just what she ought, of course. A lady always does. 49. Mr Woodhouse is reconciled to the wedding—a marriage of his mother/daughter—because Mr Knightley will come and live with him and therefore protect him from chicken thieves. Female empowerment [ edit] In Emma, Emma Woodhouse serves as a direct reflection of Jane Austen's feminist characterization of female heroines, in terms of both female individuality and independence (romantically, financially, etcetera. In terms of romantic independence, Emma's father, Henry Woodhouse, very consistently preaches against the idea of marriage. He plays an integral role in Emma's own initial perception of matrimony, leading her to make use of her free time by becoming the town “matchmaker, ” which leaves her happily single and unwed for the majority of the novel. One of the predominant reasons Emma is able to live a comfortable and independent lifestyle is her gifted inheritance—given to her by a past family member—which allows her to depend on no one other than herself for a sustainable, wealthy, and self-sufficient life. Austen portrays Emma as educated and capable, and despite not constantly being in pursuit of/pursued by a man, is extremely popular and well-liked in her hometown of Highbury. Literary scholar Laurence Mazzeno addresses Austen's narrative in regard to female individualism and empowerment, stating, “…Austen deals honestly and with skill in treating relationships between men and women, and insists Austen presents women of real passion — but not the flamboyant, sentimental kind that populate conventional is not “narrow” in her treatment of character, either; her men and women furnish as broad a view of humanity as would be obtained by traveling up and down the was conservative in both her art and her politics — suggesting that, even from a woman's point of view, Austen was hardly out to subvert the status quo. 50] In the Bedford Edition of Emma edited by Alistair M. Duckworrth, there are five essays to accompany the text that discuss contemporary critical perspectives. One of which is about the Feminist Criticism. The Feminist Criticism essay was written by Devooney Looser. In her essay, she proposes the question of if Jane Austen is a feminist. She also states in her essay that ones answer to the question not only depends on if one understands Austen's novels, but also how one defines feminism. Looser states that if you define feminism broadly as a movement attending to how women are limited and devalued within a culture then Austen's work applies to this concept of feminism. Looser also states that if you define feminism as a movement to eradicate gender, race, class, and sexual prejudice and to agitate for a change, then Austen's work doesn't really apply to this concept of feminism. The Bedford Edition essay on Feminist Criticism also includes the perspectives of French, British, and American feminists from the 1970s and early 1980s. Thinking about how each group looks at feminism can also help to expand one's own thinking of the feminist critique and gain a better understanding of feminism in Emma and in Austen's other works. Parenting [ edit] Mr. Woodhouse adopted a laissez faire parenting style when it came to raising Emma. In fact, most of the time it seems that Emma is parenting her father, taking on the role of both daughter and mother, at the young age of twelve, in the wake of her mother's death. Emma is entirely responsible for the wellbeing of her father and therefore encumbered to stay with him. Her father is a selfish but gentle man and does not approve of matrimony. If Emma were to marry he would lose his caretaker. This is not to say that Emma feels restrained by her father, in fact quite the opposite, Emma has the power over the world she inhabits. The narrator announces at the start of the novel: “The real evils of Emmas situation were the power of having rather too much of 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” (Austen, 1. While Mr. Woodhouse lacks as a father figure, Mr. Knightley acts as a surrogate father to Emma. [51] Mr. Knightley is not afraid to correct Emma's behavior and tell her what she needs to hear. Knightley reprimands Emma when he learns of her match-making games and later when Emma is extremely rude to Miss Bates. Still, the reader cannot ignore the developmental damage that has been caused by Mr. Woodhouse's indifferent parenting style as Emma struggles to form healthy adult relationships. Class [ edit] Class is an important aspect to Emma. The distinctions between the classes is made explicitly clear to the reader by Emma and by Austen's descriptions. The social class structure has the Woodhouses and Mr. Knightley at the top, the Eltons, the Westons, Frank Churchill and Jane Fairfax below them, and even further down the line Harriet, Robert Martin, and the Bates. This social class map becomes important when Emma tries to match Mr. Elton and Harriet together. Harriet is not considered a match for Elton due to her lowly class standing, despite what Emma encourages her to believe. Emma's initial disregard for class standing (in regards to Harriet at least) is brought to light by Mr. Knightley who tells her to stop encouraging Harriet. The scholar James Brown argued the much quoted line where Emma contemplates the Abbey-Mill Farm, which is the embodiment of "English verdure, English culture, English comfort, seen under a sun bright, without being oppressive" is a fact meant to be ironic. [52] Brown wrote Austen had a strong appreciation of the land as not only a source of aesthetic pleasure, but also a source of money, an aspect of pre-industrial England that many now miss. [53] In this sense, the beauty of the Abbey-Mill Farm is due to the hard work of Mr. Knightley's tenant, the farmer Robert Martin, a man whom Emma dismisses as the sort of person "with whom I feel I can have nothing to do" while Knightley praises him as "open, straight forward, and very well judging. 54] Brown argued that the disconnect between's Emma's contempt for Mr. Martin as a person and her awe at the beauty that is the result of his hard work was Austen's way of mocking those in the upper classes who failed to appreciate the farmers who worked the land. [55] Food [ edit] There is an abundance of food language in Jane Austen's Emma. Food is given, shared, and eaten by characters in almost every chapter. Most of the research on Jane Austen's food language is found in Maggie Lane's book titled Jane Austen and Food. [56] Lane's text provides a general examination of the symbolism of food in Emma and invites further interpretations. Food is used as a symbol to convey class hierarchy, stereotypes and biases throughout the novel. [57] The language and actions that surround food bring the characters of Highbury's inner circle closer together. For Emma Woodhouse, food is a symbol of human interdependence and goodwill. [56] No one in Highbury is starving; everyone is well-fed and takes part in the giving and receiving of food. However, food is a strong class divider though it is rarely openly discussed by characters in the novel. There are a few instances when characters allude to lower class individuals outside of their well-fed society. For instance, when Emma discusses her charitable visit with a poor family, Harriet's encounter with the gypsy children, and Highbury's mysterious chicken thieves. For the most part, the poor in Emma are overlooked by the characters in the novel due to their socioeconomic status. The constant giving and receiving of food in the novel does not occur without motive. [56] Characters are either trying to climb the social ladder or gain the approval or affections of another. The interpretation of the giving and receiving of food in Emma can be taken in these different directions; however in terms of love: “The novel. is stuffed with gifts of food: Mr. Knightley sends the Bates family apples; Mr. Martin woos Harriet with some walnuts; and, to further her son's suit, Mrs. Martin brings Mrs. Goddard a goose”. [58] These gifts are not without motive, and food—as it pertains to Emma Woodhouse—only becomes interesting when it pertains to love. “[R]omance is a far more interesting subject than food. Emma quickly reduces the topic of eating to a bottom-of-the-barrel ‘any thing, and arbitrary and empty screen that only becomes interesting when projected on by those in love”. [59] This becomes evident to the reader when Emma overestimates Mr. Elton's affections for Harriet from their engaging conversation about the food at the Cole's party. Emma Woodhouse interprets food conversation and gifts of food as means of affection between two lovers. Masculinity [ edit] Austen explores the idea of redefining manhood and masculinity with her male characters: particularly Mr. Knightley, Mr. Woodhouse, and Frank Churchill. In Emma, Austen includes typical ideals of English masculinity, including, “familial responsibility, sexual fidelity, and leadership transition…” [60] Mr. Woodhouse is portrayed chiefly as a fool and an incompetent father figure. Clark comments on Mr. Woodhouse's age and how this affects his masculine identity. He resists change and pleasure, yet he is still respected in the community. Knightley is Jane Austen's perfect gentleman figure in Emma. He has manners, class, and money. Further, he is presented as, “a well-adjusted alternative to these more polarized understandings of masculinity seen in characters of John Willoughby and Edward Ferrars. ” [60] Men in Emma are more representative of modern-day intersectionalities of masculinity. Allusions to real places [ edit] The fictional Highbury is said to be in Surrey, 16 miles (26 km) from London and 8 miles (13 km) from Richmond. (It must not be confused with the real Highbury, which is 4. 5 miles (7. 2 km) north of Charing Cross, now part of inner London but in Austen's day was in Middlesex. Highbury was not modelled on a specific village; however, it is likely that it is modelled after several that Austen knew, such as Cobham and Box Hill. Leatherhead, Surrey is another town that could have been a source of inspiration for Highbury. There is a Randalls Road in the town, which is an important name within Emma. It has also been noted that there is a Mr. Knightly mentioned in Leatherhead Church. [61] Emma's sister Isabella and her family live in Brunswick Square, between the City of London and the West End; the fields had just been transformed at the turn of the century into terraces of Georgian houses. Richmond, where Frank Churchill's aunt and uncle settle in the summer, is now part of the greater London area, but then was a separate town in Surrey. Most of the other places mentioned are in southern England, such as the seaside resort towns of Weymouth, Dorset, South End, and Cromer in Norfolk. Box Hill, Surrey is still a place of beauty, popular for picnics. Bath, where Mr Elton went to find a bride, is a well-known spa city in the southwest. The place furthest away is the fictional Enscombe, the estate of the Churchills, in the real Yorkshire, in the north. Mrs Elton frequently refers to the upcoming visit of her well-married sister, who will certainly arrive in their barouche - landau. This was an expensive carriage for summer use. [62] 63] The school is based on Reading Abbey Girls' School, which Austen and her sister attended briefly [64. not of a seminary, or an establishment, or any thing which professed, in long sentences of refined nonsense, to combine liberal acquirements with elegant morality upon new principles and new systems — and where young ladies for enormous pay might be screwed out of health and into vanity — but a real, honest, old-fashioned Boarding-school, where a reasonable quantity of accomplishments were sold at a reasonable price, and where girls might be sent to be out of the way and scramble themselves into a little education, without any danger of coming back prodigies. " Adaptations [ edit] Emma has been the subject of many adaptations for film, TV, radio and the stage. The profusion of adaptations based on Jane Austen's novels has not only created a large contemporary fan base but has also sparked extensive scholarly examination on both the process and effect of modernizing the narratives and moving them between mediums. Examples of this critical, academic work can be found in texts such as Recreating Jane Austen by John Wiltshire, 65] Jane Austen in Hollywood edited by Troost and Greenfield, 66] and Jane Austen and Co. Remaking the Past in Contemporary Culture edited by Pucci and Thompson [67] and Adapting Jane Austen: The Surprising Fidelity of 'Clueless' by William Galperin [68] to name a few. Film [ edit] 1995: Clueless, a loose American modern adaptation of the novel, set in Beverly Hills and starring Alicia Silverstone as Cher Horowitz (Emma) 69] 70] 1996: Emma, an American comedy starring Gwyneth Paltrow as Emma [71] 2010: Aisha, an Indian modern adaptation of the novel, starring Sonam Kapoor as Aisha (Emma. 72] 2020: Emma, directed by Autumn de Wilde, starring Anya Taylor-Joy as Emma Woodhouse and Johnny Flynn as Mr. [73] Television [ edit] 1948: Emma, live BBC TV broadcast, starring Judy Campbell (who also wrote the screenplay) as Emma, and directed and produced by Michael Barry [74] 1954: Emma, live NBC TV broadcast, starring Felicia Montealegre as Emma [74] 1957: Emma, another live NBC TV broadcast in their Matinee Theater series, starring Sarah Churchill as Emma [74] 1960: Emma, live BBC TV serial in six parts, starring Diana Fairfax as Emma and directed by Campbell Logan [74] 1960: Emma, live CBS TV broadcast in their Camera Three series, starring Nancy Wickwire as Emma. [74] 1972: Emma, a six-part BBC miniseries, starring Doran Godwin as Emma 1996: Emma, an ITV TV film, starring Kate Beckinsale as Emma 2009: Emma, a four-part BBC miniseries, starring Romola Garai as Emma [75] Web [ edit] 2013: Emma Approved, a YouTube web series produced by Pemberley Digital and developed by Bernie Su, starring Joanna Sotomura as Emma. [76] 77] 2017: The Emma Agenda, a YouTube web series produced by Quip Modest Productions, starring Selis Maria Vargas as Emma. In this version, The role of Mr. Knightley is a female hence makes it the first lesbian version of Emma on screen. Stage [ edit] 1991: Emma, a stage adaptation by British playwright Michael Fry, first produced by the Cloucester Stage Company in 1991, and since then produced by a number of theatre companies in Britain and the US [78] 79] 2000: Emma, a musical written by Stephen Karam and first showed by the Brownbrokers student theatre group at Brown University under the direction of Darius Pierce. [80] In 2004 Karam's musical was played at the New York Musical Theatre Festival under the direction of Patricia Birch. [81] A theatrical adaptation by Michael Napier Brown was performed at the Royal Theatre in Northampton in 2000 [82] 2007: Jane Austen's Emma – A Musical Romantic Comedy, a musical written by Paul Gordon, which premiered at TheatreWorks in Menlo Park, California. [83] This musical has since been performed at the Cincinnati Playhouse, The Repertory Theatre of St. Louis and the Old Globe Theatre in San Diego. [74] 2009: Emma, a stage adaption by Rachel Atkins for the Book-It Repertory Theatre in Seattle, directed by Marcus Goodwin with Sylvie Davidson in the title role [74] 84] Fiction [ edit] Joan Aiken wrote a companion novel, Jane Fairfax: The Secret Story of the Second Heroine in Jane Austen's Emma. [85] Alexander McCall Smith has written a modern version, titled Emma: A Modern Retelling (2014) 86] Reginald Hill wrote Poor Emma in 1987, included in the 2007 paperback There is no ghost in the Soviet Union, where finance plays a crucial role. The importance of being Emma, a novel published in 2008 by Juliet Archer, is a modern version of Emma Emma and the Werewolves: Jane Austen and Adam Rann, Adam Rann, is a parody of Emma which by its title, its presentation and its history, seeks to give the illusion that the novel had been written jointly by Adam Rann and Jane Austen, that is, a mash-up novel. Emma and the Vampires, a 2010 installation of the Jane Austen Undead Novels by Wayne Josephson, preserves the basic plot of Austen's original while adding contemporary humor and a thematic flair for the undead. [87] The Matchmaker: An Amish Retelling of Jane Austen's Emma (2015) by Sarah Price Emma Ever After, a 2018 modern retelling of Emma by Brigid Coady. In this version, Emma is a PR manager for celebrities and George "Gee" Knightley is the former member of a boy band. Manga [ edit] In June 2015, manga adaptation was published by Manga Classics Inc. was adopted by Crystal S. Chan, art by Po Tse. [88] Critical editions [ edit] Jane Austen, Emma (Wordsworth Classics, 2000) ed. Nicola Bradbury, ISBN   978-1853260285 Bibliography [ edit] Cano, Marina (2017. Jane Austen and Performance. Cham, Switzerland: Palgrave Macmillan. Especially Chapter 5 "Re-inscribing Emma. ISBN   978-3-319-43987-7. References [ edit] Advertisement in The Morning Chronicle 23 December 1815 p. 1. ^ Austen-Leigh, William and Richard Arthur (1965. Jane Austen: Her Life and Letters. New York: Russell and Russell. p. 237. ^ Austen-Leigh, James Edward (1882. A Memoir of Jane Austen. London: Richard Bentley & Sons. p. 157. ^ Austen, Jane (2012. Justice, George (ed. Emma (4th Norton Critical ed. New York: W. W. Norton & Co. ISBN   978-0-393-92764-1. ^ Burrows, John Frederick Burrows (1968. Jane Austen's Emma. Australia: Sydney University Press. p. 7. ^ Austen, Jane (2012. p. 15. ISBN   978-0-393-92764-1. ^ Baker, William (2008. Critical Companion to Jane Austen: A Literary Reference to Her Life and Work. New York: Facts on File: an imprint of Infobase Publishing. p. 37. ISBN   978-0-8160-6416-8. ^ LeFaye, Deidre (2004. Jane Austen: A Family Record (2nd ed. Cambridge: Cambridge University Press. pp. 225–227. ISBN   978-0-521-53417-8. ^ Gilson, David (1982. A Bibliography of Jane Austen. Oxford: Clarendon Press. pp.  97–98. ISBN   978-0-19-818173-6. ^ Gilson, David (1982. pp.  239. pp.  161. pp.  164. pp.  211, 218. pp.  225–234. pp.  135–207. Oxford: Oxford University Press. pp.  66–67. ISBN   978-0-19-818173-6. ^ a b Gilson, David (1982. pp.  69. ISBN   978-0-19-818173-6. ^ The Quarterly review. v. 14 (Oct 1815-Jan 1816. HathiTrust. Retrieved 15 September 2017. ^ Southam, B. C. (1979. Jane Austen: The Critical Heritage Vol I 1811-1870. Routledge. pp. 64, 69, 71. ISBN   978-0-203-19671-7. ^ Byrne, Paula, ed. (2004. Jane Austen's Emma: A Sourcebook. pp. 40–42. ISBN   978-0-415-28651-0. ^ Dowden, Wilfred S. (1964. The Letters of Thomas Moore. p. 396. ^ Doyle, John A. (1898. Memoir and correspondence of Susan Ferrier, 1782-1854. London: John Murray. p. 128. ^ a b Todd, Janet (2006. The Cambridge Introduction to Jane Austen. Cambridge University Press. p. 94. ISBN   978-0-521-85806-9. ^ Austen, Jane (2012. The Reception of Jane Austen 1815-1950. In Justice, George (ed. pp. 363–364. Critical Companion to Jane Austen: A Literary Reference to Her Life and Works. New York: Facts on File Inc. p. 97. ISBN   978-0-8160-6416-8. ^ Austen, Jane (2012. pp. 366–377. ISBN   978-0-393-92764-1. ^ Southam, B. Jane Austen: The Critical Heritage, Vol I 1811–1870. London: Routledge. pp. 117–118, 130. ISBN   978-0-203-19671-7. ^ Southam, B. Jane Austen: The Critical Heritage, Vol I. 1811-1870. pp. 221–229. ISBN   978-0-203-19671-7. ^ Susan Morgan. In the Meantime. The University of Chicago Press, Chapter One, Emma and the Charms of Imagination. pp23-51. ^ How Jane Austens Emma changed the face of fiction The Guardian 5-Dec-2015 ^ a b Irvine, Robert Jane Austen, London: Routledge, 2005 page 72. ^ Irvine, Robert Jane Austen, London: Routledge, 2005 pages 72-73. ^ a b c d Irvine, Robert Jane Austen, London: Routledge, 2005 page 73. ^ a b c d Wiltshire, John " Mansfield Park, Emma, Persuasion " pages 58-83 from The Cambridge Guide To Jane Austen, Cambridge: Cambridge University Press, 1997 page 68. ^ a b c Irvine, Robert Jane Austen, London: Routledge, 2005 page 74. ^ a b c d Irvine, Robert Jane Austen, London: Routledge, 2005 page 75. ^ Irvine, Robert Jane Austen, London: Routledge, 2005 pages 75-76. ^ a b Irvine, Robert Jane Austen, London: Routledge, 2005 page 76. ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 76 ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 77 ^ a b c Irvine, Robert Jane Austen, London: Routledge, 2005 page 77. ^ a b c d e f g Irvine, Robert Jane Austen, London: Routledge, 2005 page 78. ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 80. ^ a b c Wiltshire, John " Mansfield Park, Emma, Persuasion " pages 58-83 from The Cambridge Guide To Jane Austen, Cambridge: Cambridge University Press, 1997 page 69. ^ a b c d e Taylor, Collen "Austen answers the Irish question: satire, anxiety, and Emma's, allusory Ireland" from Persuasions, Volume 38, August 2016 page 218. ^ Taylor, Colleen "Austen answers the Irish question: satire, anxiety, and Emma's, allusory Ireland" from Persuasions, Volume 38, August 2016 page 218. ^ Taylor, Colleen: Austen answers the Irish question: satire, anxiety, and Emma's, allusory Ireland" from Persuasions, Volume 38, August 2016 page 218. ^ Austen, Jane. Emma. Oxford University Press, Oxford, 2008. ^ Wikiquote Emma, Etiquette quotes ^ Mazzeno, Laurence (May 2017. Traditional Approaches to Austen, 1991–2008. Jane Austen: Two Centuries of Criticism. Jane Austen. pp. 210–237. doi: 10. 7722/j. ctt81z9p. 13. JSTOR   10. 13. ^ De Vink, Sarah. “Austen's Representations of Parenthood in Pride and Prejudice, Emma, and Persuasion. ” Thesis, Utrecht University, 2008, pp. 27–33. ^ Brown, James "Jane Austen's Mental Maps" pages 20-41 from Critical Survey, Vol. 26, 2014 page 31. ^ Brown, James "Jane Austen's Mental Maps" pages 20-41 from Critical Survey, Vol. 26, 2014 pages 30-31. ^ a b c Lane, Maggie (2007. Jane Austen and Food. London Hambledon Press. ^ Kirkley, Laura (2008. Review of Jane Austen and the Theatre, Jane Austen and Food. The Historical Journal. 51: 814–817. 1017/S0018246X08006870. ^ Seeber, Barbara K. (2002. Nature, Animals, and Gender in Jane Austen's Mansfield Park and Emma. Lit: Literature Interpretation Theory. 13 (4) 269–285. 1080/10436920290095776. ^ Lee, Micheal Parrish (September 2012. The Nothing in the Novel: Jane Austen and the Food Plot. Novel. 45 (3) 368–388. 1215/00295132-1722998. ^ a b Clark, Alyssa (Summer 2015. Jane Austen's world. Thesis, San Diego State University. ^ Herbert, David (April 2017. Place and Society in Jane Austen's England. Geography. 76 (3) 193–208. JSTOR   40572081. ^ Ratcliffe, Ed (2012. Transports of Delight: How Jane Austen's Characters Got Around. The Inkwell. Menlo Park, California: Jane Austen Society of North America. Archived from the original on 20 July 2013. Retrieved 14 June 2015. ^ Ratcliffe, Ed (2012. Transports of Delight: How Jane Austen's Characters Got Around" PDF. JASNA NorCa. Archived from the original (PDF) on 18 June 2015. Retrieved 14 June 2015. ^ Corley, T. A. B. (1998. Jane austen's "real, honest, old-fashioned boarding-school" Mrs La Tournelle and Mrs Goddard. Women's Writing. 5 (1) 113–130. 1080/09699089800200035. ^ Wiltshire, John (2001. Recreating Jane Austen. ISBN   978-0521002820. ^ Troost, Linda, and Sayre Greenfield, editors. Jane Austen in Hollywood. The University Press of Kentucky, 1998. ISBN   0813120845 ^ Pucci, Suzanne R., and James Thompson, editors. Jane Austen and Co. Remaking the Past in Contemporary Culture. State University of New York Press, 2003. ISBN   0791456161 ^ Galperin, William. "Adapting Jane Austen: The Surprising Fidelity of 'Clueless. Wordsworth Circle. ^ Mazmanian, Melissa. "Reviving Emma" in a Clueless World: The Current Attraction to a Classic Structure. Persuasions Online: Occasional Papers No. 3. Fall 1999. Jane Austen Society of North America website. Accessed 12 November 2013. ^ Stern, Lesley. "Emma in Los Angeles" Clueless as a remake of the book and the city. Archived 6 October 2013 at the Wayback Machine Australian Humanities Review website, 1997. Accessed 12 November 2013. ^ Di Paolo, Marc (2007. Emma Adapted: Jane Austen's Heroine from Book to Film. New York: Peter Lang Publishing. p. 85. ISBN   9781433100000. ^ Aisha based on Jane Austen's novel Emma. Indiatimes. Archived from the original on 6 September 2010. Retrieved 11 November 2015. ^ The first trailer for 'Emma' gives a peek at an updated classic ^ a b c d e f g The Emma Adaptations Pages: Other Versions. Retrieved 27 December 2011 ^ Moore, Charles (27 October 2009. This misjudged 'Emma' is a pedant's dream. The Telegraph. Retrieved 4 February 2019. ^ Pemberley Digital - About. Retrieved 17 April 2014. ^ I am Emma Woodhouse - Emma Approved" Ep 1 - Youtube. Retrieved 17 April 2014. ^ The Emma Adaptations Pages: Emma by Michael Fry. Retrieved 27 December 2011 ^ Culturvulture November 2004: Emma at Aurora Theatre Company in Berkley Archived 12 May 2012 at the Wayback Machine ^ The Providence, Phoenix, 7 December 2000: Emma Rewards Archived 15 April 2012 at the Wayback Machine. Retrieved 27 December 2011 ^ TheaterMania 2004: Emma (NYMF. Retrieved 27 December 2011 ^ Set Play' – Emma, Times Educational Supplement, 25 February 2000 ^ Broadway World, 17 August 2007: World Premiere Emma Steps into TheatreWorks 8/22. Retrieved 27 December 2011 ^ Seattle Times 16 October 2009: Attention, Austen fans: Emma Comes to Book-It. Retrieved 27 December 2011 ^ Aiken, Joan (1997. Jane Fairfax: The Secret Story of the Second Heroine in Jane Austen's Emma. St. Martin's Press. ISBN   9780312157074. ^ Emma: A Modern Retelling (2014) Harper Collins, London. ISBN   978-0-00-755386-0 ^ Josephson, Wayne (2010. Emma and the Vampires. Sourcebooks Landmark. ISBN   978-1402241345. ^ Manga Classics: Emma (2015) Manga Classics Inc. ISBN   978-1927925362 External links [ edit] Wikiquote has quotations related to: Emma.

Im not even gonna lie. I dont like Emma, but nobody deserves this. It was kinda obvious that he used her and got what he wanted: The followers, and the money. Smh 🤦🏽‍♀️ I honestly feel crushed for her. Nobody deserves to be humiliated like that... Emma mackey. Omg I am living for your short hair. It looks so classy and ur hair looks so much healthier !😍🖤 Btw. Im a youtuber too! Want to support?💗☺️. YouTube emma chamberlain. Selling replay buttons 12:41 12:41 12:41 12:41 12:41. Production Notes from IMDbPro Status: Completed, See complete list of in-production titles  » Updated: 24 May 2019 More Info: See more production information about this title on IMDbPro. Videos Learn more More Like This Horror Thriller Successful author Veronica finds herself trapped in a horrifying reality and must uncover the mind-bending mystery before it's too late. Directors: Gerard Bush, Christopher Renz Stars: Janelle Monáe, Eric Lange, Jena Malone Drama Fantasy 1 2 3 4 5 6 7 8 9 10 6. 6 / 10 X Lost on a mysterious island where aging and time have come unglued, Wendy must fight to save her family, her freedom, and the joyous spirit of youth from the deadly peril of growing up. Director: Benh Zeitlin Yashua Mack, Devin France, Gage Naquin Comedy Romance While matchmaking for friends and neighbours, a young 19th Century Englishwoman nearly misses her own chance at love. Douglas McGrath Gwyneth Paltrow, James Cosmo, Greta Scacchi 5. 6 / 10 Satire about the world of the super-rich. Michael Winterbottom Asa Butterfield, Sophie Cookson, Isla Fisher 8. 1 / 10 A passionate coming-of-age tale set amidst the conservative confines of modern Tbilisi, the film follows Merab, a competitive dancer who is thrown off balance by the arrival of Irakli, a fellow male dancer with a rebellious streak. Levan Akin Levan Gelbakhiani, Bachi Valishvili, Ana Javakishvili Adventure A horror adaptation of the popular '70s TV show about a magical island resort. Jeff Wadlow Lucy Hale, Maggie Q, Portia Doubleday 7. 5 / 10 An extraordinary look at the lives of a middle-aged couple in the midst of the wife's breast cancer diagnosis. Lisa Barros D'Sa, Glenn Leyburn Liam Neeson, Lesley Manville, Amit Shah Action Mystery 5. 5 / 10 A woman seeks revenge against those who orchestrated a plane crash that killed her family. Reed Morano Blake Lively, Jude Law, Sterling K. Brown Sport A former HS basketball phenom, struggling with alcoholism, is offered a coaching job at his alma mater. As the team starts to win, he may have a reason to confront his old demons. But will it be enough to set him on the road to redemption? Gavin O'Connor Ben Affleck, Janina Gavankar, Michaela Watkins Set in the underworld of debt-collecting and follows the homegrown hustler Peg Dahl, who will do anything to escape Buffalo, NY. Tanya Wexler Zoey Deutch, Jai Courtney, Judy Greer War 7. 2 / 10 1945, Leningrad. WWII has devastated the city, demolishing its buildings and leaving its citizens in tatters, physically and mentally. Two young women search for meaning and hope in the struggle to rebuild their lives amongst the ruins. Kantemir Balagov Viktoria Miroshnichenko, Vasilisa Perelygina, Andrey Bykov A stormy reunion between scriptwriter Lumir with her famous mother and actress, Fabienne, against the backdrop of Fabienne's autobiographic book and her latest role in a Sci-Fi picture as a mother who never grows old. Hirokazu Koreeda Catherine Deneuve, Juliette Binoche, Ethan Hawke Edit Storyline Jane Austen's beloved comedy about finding your equal and earning your happy ending, is reimagined in this. Handsome, clever, and rich, Emma Woodhouse is a restless queen bee without rivals in her sleepy little town. In this glittering satire of social class and the pain of growing up, Emma must adventure through misguided matches and romantic missteps to find the love that has been there all along. Written by Focus Features Plot Summary Add Synopsis Taglines: Handsome, clever, and rich. Motion Picture Rating ( MPAA) Rated PG for brief partial nudity Details Release Date: 21 February 2020 (USA) See more  » Company Credits Technical Specs See full technical specs  » Did You Know? Trivia 4 different switchers were used during the making of this film See more » Connections Version of Emma  (1960) See more ».

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Emmanuel. Emma gonzalez. Emma mcallister. “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 Emma, one of Jane Austens most beloved books. But not everyone is carried away by Emmas charm. To some readers, her decidedly unhandsome actions—meddling in love affairs and acting like an entitled brat among them—are cause for vexation and distress in and of themselves. And, writes English scholar Barbara Z. Thaden, that could even be the point.  “Emma was not intended to be or become a sympathetic character, ” she writes—and, she suggests, Miss Woodhouse might not even be her eponymous books own heroine. Unlike Austens other heroines, Emma is beloved and seemingly blessed. Well treated by her family and well regarded by everyone around her, she flies in the face of heroines like Pride and Prejudice s Elizabeth Bennet, who is charming but without social cachet, Sense and Sensibility s stoic Elinor Dashwood, or Persuasion s forgotten spinster Anne Elliot. She resembles others in the Austen world, though—but as Thaden suggests, its the condescension, pride, and social security of plenty of Austens villains that she shares. Thaden dissects Emmas supposed charm—a quality that, she argues, pulls the wool over readers eyes. Meddling, cruelty, and entitlement are interpreted by other characters, and readers, as evidence of her superiority, but unlike other charming and wealthy Austen characters, Emma never has to prove her worth. Instead, she manipulates other peoples lives and romances, and seems unlikely to change her ways after snagging Mr. Knightley, a longtime friend she has encouraged another woman to love. The enigmatic Jane Fairfax, on the other hand, is given none of her foils intrinsic tools. Forced to seek a post as a governess because of her orphan status, she is the only woman Emma envies. But she is nothing like her: Where the richer Emma can do as she pleases, Jane must “endure silently while a flirt of high social standing plays with the man she loves. ” Jane Fairfax, argues Thaden, is more like Jane Austen than most of her heroines. Well-behaved and wary in public and witty in private, Austen chafed at societal obsessions with marriage, rank, and social status. That makes Emma a decided aberration. Unlike her other novels, which star put-upon women trying to navigate social systems that constrain them, Emma stars the ultimate insider, the kind of woman for whom those structures of hierarchy have been designed. For Thaden, Jane Fairfax lurks around the edges of Austens hard-to-understand authorial decisions, challenging readers with questions Austen never answers. Why isnt she the books heroine? Is she the books heroine? What do we actually know about her? What motivates her? Thaden doesnt have conclusive answers, and thats okay. Part of the fun of Emma is its outlier status—and some of its longevity could lie in conversations provoked by its heroines unlikable actions. “Perhaps Jane was to have had our sympathy all along, and our job as readers is to resist Emmas charm, ” writes Thaden. And even if you can resist Emmas wiles, Emma ‘s piquant pokes at the unfair social order of its day are worth their own love affair. Resources JSTOR is a digital library for scholars, researchers, and students. JSTOR Daily readers can access the original research behind our articles for free on JSTOR. By: Barbara Z. Thaden South Atlantic Review, Vol. 55, No. 1 (Jan., 1990) pp. 47-62 South Atlantic Modern Language Association.

Emmanuella comedy. Emma coronel. Emmas email marketing platform gives you all the tools you need to send campaigns that really connect with your subscribers. Get a Demo Let's make your emails better. With our powerful automation and personalization features, you can create and send email campaigns that reach the right customer at just the right time. View all features Emma HQ: Command central for your marketing. Our tiered Emma HQ platform makes it easy to manage your email marketing across multiple departments or locations, share templates and creative assets, and quickly approve every email before it goes out. Explore HQ Connect what matters with 100s of integrations. With our pre-built apps and integrations, you can use your data to power highly-personalized messaging—and see the full impact of your emails
on your larger marketing initiatives. See our integrations We're always ready to lend a hand. Our in-house email experts can give you advice on your email marketing strategy, design custom branded templates, create engaging email content, and help you maximize your results over time. Request a service "Since the launch of our campaign in 2015, more than 2. 6 billion has been raised to support students, faculty, colleges, academics and athletic programs. Diana Tomlin, Marketing Manager at the Texas A&M Foundation "Using Emma, weve discovered and acted on valuable opportunities that we had been missing before. Sarah Matista, Director of Marketing for The Palm Restaurant Group "The fact that I can manage 2, 000 accounts from one dashboard is fantastic. Kathleen Guzman, Marketing Communications Specialist for Liberty Tax Make your best work better with Emma. Lets take your emails to the next level. Get in touch today to start building lasting customer relationships with email marketing. Get a Demo We use cookies to serve personalized content and targeted advertisements to you, which gives you a better browsing experience and lets us analyze site traffic. Review our cookie information to learn more. You can manage your cookie preferences at any time. ×.

EMMA hat gelesen In der Jungle World kritisieren Ali Tonguç Ertuğrul, Sabri Deniz Martin und Vojin Saša Vukadinović das neue Buch "Sexueller Exzeptionalismus" der Genderforscherin Gabriele Dietze. Es folge einer "unterkomplexen Analogie" die für die Gender Studies inzwischen typisch ist: An die Stelle des Ostblocks sei nach dem Ende des Kalten Krieges im Westen das "Feindbild Islam" getreten. Dietze ignoriert dabei den weltweiten Vormarsch der Islamisten, die Kölner Silvesternacht ist für sie "ungeklärt. weiter Anzeige hier Blättern Alles über Alice Stationen ihres Lebens: von der Kindheit auf dem Dorf, über die Journalistin in Paris bis hin zu dem Rummel um den "Kleinen Unterscheid" und dem Start von EMMA. Dazwischen Überraschendes. Alice Schwarzer in der Tanzschule. Im Strandkorb mit Udo Jürgens. Oder mit Bruno auf dem Markusplatz. Alles über Alice! weiter.

Enter your search terms separated by spaces, then press . Avoid punctuation except as indicated below: Suffixes. exact match Prefixes a. author t. title s. subject l. language # ebook no. n. cat. category Operators Always put spaces around these., or! not ( grouping this query finds shakespeare hamlet "Hamlet" by Shakespeare qui. "qui" not "Quixote" love stories akespeare by Shakespeare about Shakespeare #74 ebook no. 74 juvenile juvenile lit in German verne. by Verne in French or Italian love stories! austen love stories not by Austen jane austen audio books by Jane Austen.

Emma:”Because James wants to marry Grayson” Grayson:”STOOOOOOOOOOOOOOOP” James: Smirks. Emma ellingsen. Emma walton hamilton. Emma film. Majk spirit je supeeeeeeeeeer SEPA R. Emmanuel solo. This video brings a certain comfort to me that no one else can bring. Mamimis koto 😭😭. Emma. Theatrical release poster Directed by Autumn de Wilde Produced by Tim Bevan Eric Fellner Graham Broadbent Pete Czernin Screenplay by Eleanor Catton Based on Emma by Jane Austen Starring Anya Taylor-Joy Johnny Flynn Bill Nighy Music by Isobel Waller-Bridge David Schweitzer Cinematography Christopher Blauvelt Edited by Nick Emerson Production companies Perfect World Pictures Working Title Films Blueprint Pictures Distributed by Focus Features Release date February 14, 2020 (United Kingdom) February 21, 2020 (United States) Running time 124 minutes Country United Kingdom United States Language English Emma. is an upcoming comedy - drama film directed by Autumn de Wilde and written by Eleanor Catton. It is based on the 1815 novel of the same name by Jane Austen. The film stars Anya Taylor-Joy, Johnny Flynn and Bill Nighy. It is scheduled to be released in the United Kingdom on February 14, 2020, and in the United States on February 21, 2020, by Focus Features. Synopsis [ edit] Emma Woodhouse, handsome, clever and rich" meddles in the romantic affairs of her friends and loved ones. Cast [ edit] Anya Taylor-Joy as Emma Woodhouse Johnny Flynn as George Knightley Bill Nighy as Mr. Woodhouse Mia Goth as Harriet Smith Miranda Hart as Miss Bates Josh O'Connor as Mr. Elton Callum Turner as Frank Churchill Rupert Graves as Mr. Weston Gemma Whelan as Mrs. Weston Amber Anderson as Jane Fairfax Tanya Reynolds as Mrs. Elton Connor Swindells [1] Production [ edit] In October 2018, Anya Taylor-Joy was cast in the film adaptation of Emma, with Autumn de Wilde making her directorial debut with the film. [2] In December 2018, Johnny Flynn joined the cast of the film. [3] In March 2019, Bill Nighy, Mia Goth, Josh O'Connor, Callum Turner, Miranda Hart, Rupert Graves, Gemma Whelan, Amber Anderson and Tanya Reynolds joined the cast of the film. [4] Alexandra Byrne will be providing costume design for the film. [5] Filming [ edit] Principal photography began on March 18, 2019. [6] 7] Release [ edit] It is scheduled to be released in the United Kingdom on February 14, 2020, and in the United States on February 21, 2020. [8] Reception [ edit] Critical reception [ edit] Emma received positive reviews from film critics. It holds a 90% approval rating on review aggregator website Rotten Tomatoes, based on 10 reviews, with a weighted average of 7. 33/10. [9] On Metacritic, the film holds a rating of 75 out of 100, based on 5 critics, indicating "generally favorable reviews. 10] References [ edit] Focus Features. "Emma Cast & Crew. Retrieved December 8, 2019. ^ Kit, Borys (October 25, 2018. Anya Taylor-Joy to Star in Jane Austen Adaptation 'Emma' Exclusive. The Hollywood Reporter. Retrieved October 29, 2018. ^ D'Alessandro, Anthony (December 20, 2018. Johnny Flynn Joins Focus Features-Working Title's 'Emma. Deadline Hollywood. Retrieved March 2, 2019. ^ Grater, Tom (March 21, 2019. Bill Nighy, Mia Goth, Josh O'Connor, Callum Turner board 'Emma' for Working Title, Blueprint (exclusive. Screen International. Retrieved March 21, 2019. ^ Alexandra Byrne. Independent Talent. Retrieved 2019-05-14. ^ Production Weekly" PDF. Production Weekly. No. 1123. December 20, 2018. p. 19. Retrieved January 28, 2019. ^ de Wilde, Autumn (March 18, 2019. DAY ONE of production complete. Retrieved March 19, 2019. I am thrilled to announce that I am directing Jane Austens ”Emma” starring @anyataylorjoy for @focusfeatures @workingtitlefilms. screenplay by eleanorcatton. photo by @anyataylorjoy. emmafilm. “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. ”. emma #hansomecleverandrich ^ Emma. Launching Films. Retrieved August 22, 2019. ^ Emma (2020. Rotten Tomatoes. Retrieved February 7, 2020. ^ Emma Reviews. Metacritic. Retrieved February 6, 2020. External links [ edit] Emma. on IMDb Emma. at Rotten Tomatoes Emma. at Metacritic.

EMMA and Municipal Market Transparency The EMMA website is funded and operated by the Municipal Securities Rulemaking Board (MSRB) the self-regulatory organization charged by Congress with promoting a fair and efficient municipal securities market. EMMA is designated by the U. S. Securities and Exchange Commission as the official source for municipal securities data and disclosure documents. The website provides free public access to objective municipal market information and interactive tools for investors, municipal entities and others. EMMA supports municipal market transparency but is not a platform for buying or selling bonds. Read more about EMMA and the MSRB.
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Emma. Theatrical release poster Directed by Autumn de Wilde Produced by Tim Bevan Eric Fellner Graham Broadbent Pete Czernin Screenplay by Eleanor Catton Based on Emma by Jane Austen Starring Anya Taylor-Joy Johnny Flynn Bill Nighy Music by Isobel Waller-Bridge David Schweitzer Cinematography Christopher Blauvelt Edited by Nick Emerson Production companies Perfect World Pictures Working Title Films Blueprint Pictures Distributed by Focus Features Release date February 14, 2020 (United Kingdom) February 21, 2020 (United States) Country United Kingdom United States Language English Emma. is an upcoming comedy - drama film directed by Autumn de Wilde and written by Eleanor Catton. It is based on the 1815 novel of the same name by Jane Austen. The film stars Anya Taylor-Joy, Johnny Flynn and Bill Nighy. It is scheduled to be released in the United Kingdom on February 14, 2020, and in the United States on February 21, 2020, by Focus Features. Synopsis [ edit] Emma Woodhouse, handsome, clever and rich" meddles in the romantic affairs of her friends and loved ones. Cast [ edit] Anya Taylor-Joy as Emma Woodhouse Johnny Flynn as George Knightley Bill Nighy as Mr. Woodhouse Mia Goth as Harriet Smith Miranda Hart as Miss Bates Josh O'Connor as Mr. Elton Callum Turner as Frank Churchill Rupert Graves as Mr. Weston Gemma Whelan as Mrs. Weston Amber Anderson as Jane Fairfax Tanya Reynolds as Mrs. Elton Connor Swindells [1] Production [ edit] In October 2018, Anya Taylor-Joy was cast in the film adaptation of Emma, with Autumn de Wilde making her directorial debut with the film. [2] In December 2018, Johnny Flynn joined the cast of the film. [3] In March 2019, Bill Nighy, Mia Goth, Josh O'Connor, Callum Turner, Miranda Hart, Rupert Graves, Gemma Whelan, Amber Anderson and Tanya Reynolds joined the cast of the film. [4] Alexandra Byrne will be providing costume design for the film. [5] Filming [ edit] Principal photography began on March 18, 2019. [6] 7] Release [ edit] It is scheduled to be released in the United Kingdom on February 14, 2020, and in the United States on February 21, 2020. [8] References [ edit] Focus Features. "Emma Cast & Crew. Retrieved December 8, 2019. ^ Kit, Borys (October 25, 2018. Anya Taylor-Joy to Star in Jane Austen Adaptation 'Emma' Exclusive. The Hollywood Reporter. Retrieved October 29, 2018. ^ D'Alessandro, Anthony (December 20, 2018. Johnny Flynn Joins Focus Features-Working Title's 'Emma. Deadline Hollywood. Retrieved March 2, 2019. ^ Grater, Tom (March 21, 2019. Bill Nighy, Mia Goth, Josh O'Connor, Callum Turner board 'Emma' for Working Title, Blueprint (exclusive. Screen International. Retrieved March 21, 2019. ^ Alexandra Byrne. Independent Talent. Retrieved 2019-05-14. ^ Production Weekly" PDF. Production Weekly. No. 1123. December 20, 2018. p. 19. Retrieved January 28, 2019. ^ de Wilde, Autumn (March 18, 2019. DAY ONE of production complete. Retrieved March 19, 2019. I am thrilled to announce that I am directing Jane Austens ”Emma” starring @anyataylorjoy for @focusfeatures @workingtitlefilms. screenplay by eleanorcatton. photo by @anyataylorjoy. emmafilm. “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. ”. emma #hansomecleverandrich ^ Emma. Launching Films. Retrieved August 22, 2019. External links [ edit] Emma. on IMDb.

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