0

    Emma

    4.3 564

    by Jane Austen, Fiona Stafford (Introduction), Fiona Stafford (Noted by), Coralie Bickford-Smith (Illustrator)


    Hardcover

    $26.00
    $26.00

    Temporarily Out of Stock Online

    Customer Reviews

    Though the domain of Jane Austen’s novels was as circumscribed as her life, her caustic wit and keen observation made her the equal of the greatest novelists in any language. Born the seventh child of the rector of Steventon, Hampshire, on December 16, 1775, she was educated mainly at home. At an early age she began writing sketches and satires of popular novels for her family’s entertainment. As a clergyman’s daughter from a well-connected family, she had an ample opportunity to study the habits of the middle class, the gentry, and the aristocracy. At twenty-one, she began a novel called “The First Impressions” an early version of Pride and Prejudice. In 1801, on her father’s retirement, the family moved to the fashionable resort of Bath. Two years later she sold the first version of Northanger Abby to a London publisher, but the first of her novels to appear was Sense and Sensibility, published at her own expense in 1811. It was followed by Pride and Prejudice (1813), Mansfield Park (1814), and Emma (1815).

    After her father died in 1805, the family first moved to Southampton then to Chawton Cottage in Hampshire. Despite this relative retirement, Jane Austen was still in touch with a wider world, mainly through her brothers; one had become a very rich country gentleman, another a London banker, and two were naval officers. Though her many novels were published anonymously, she had many early and devoted readers, among them the Prince Regent and Sir Walter Scott. In 1816, in declining health, Austen wrote Persuasion and revised Northanger Abby, Her last work, Sandition, was left unfinished at her death on July 18, 1817. She was buried in Winchester Cathedral. Austen’s identity as an author was announced to the world posthumously by her brother Henry, who supervised the publication of Northanger Abby and Persuasion in 1818.

    Read More

    Brief Biography

    Date of Birth:
    December 16, 1775
    Date of Death:
    July 18, 1817
    Place of Birth:
    Village of Steventon in Hampshire, England
    Place of Death:
    Winchester, Hampshire, England
    Education:
    Taught at home by her father

    Read an Excerpt

    Volume One

    Chapter One

    Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her.

    She was the youngest of the two daughters of a most affectionate, indulgent father; and had, in consequence of her sister's marriage, been mistress of his house from a very early period. Her mother had died too long ago for her to have more than an indistinct remembrance of her caresses; and her place had been supplied by an excellent woman as governess, who had fallen little short of a mother in affection.

    Sixteen years had Miss Taylor been in Mr. Woodhouse's family, less as a governess than a friend, very fond of both daughters, but particularly of Emma. Between them it was more the intimacy of sisters. Even before Miss Taylor had ceased to hold the nominal office of governess, the mildness of her temper had hardly allowed her to impose any restraint; and the shadow of authority being now long passed away, they had been living together as friend and friend very mutually attached, and Emma doing just what she liked; highly esteeming Miss Taylor's judgment, but directed chiefly by her own.

    The real evils, indeed, of Emma's situation were the power of having rather too much her own way, and a disposition to think a little too well of herself; these were the disadvantages which threatened alloy to her many enjoyments. The danger, however, was at present so unperceived, that they did not by any means rank as misfortunes with her.

    Sorrow came—a gentlesorrow—but not at all in the shape of any disagreeable consciousness.—Miss Taylor married. It was Miss Taylor's loss which first brought grief. It was on the wedding-day of this beloved friend that Emma first sat in mournful thought of any continuance. The wedding over, and the bride-people gone, her father and herself were left to dine together, with no prospect of a third to cheer a long evening. Her father composed himself to sleep after dinner, as usual, and she had then only to sit and think of what she had lost.

    The event had every promise of happiness for her friend. Mr. Weston was a man of unexceptionable character, easy fortune, suitable age, and pleasant manners; and there was some satisfaction in considering with what self-denying, generous friendship she had always wished and promoted the match; but it was a black morning's work for her. The want of Miss Taylor would be felt every hour of every day. She recalled her past kindness—the kindness, the affection of sixteen years—how she had taught and how she had played with her from five years old—how she had devoted all her powers to attach and amuse her in health—and how nursed her through the various illnesses of childhood. A large debt of gratitude was owing here; but the intercourse of the last seven years, the equal footing and perfect unreserve which had soon followed Isabella's marriage, on their being left to each other, was yet a dearer, tenderer recollection. She had been a friend and companion such as few possessed: intelligent, well-informed, useful, gentle, knowing all the ways of the family, interested in all its concerns, and peculiarly interested in herself, in every pleasure, every scheme of hers—one to whom she could speak every thought as it arose, and who had such an affection for her as could never find fault.

    How was she to bear the change?—It was true that her friend was going only half a mile from them; but Emma was aware that great must be the difference between a Mrs. Weston, only half a mile from them, and a Miss Taylor in the house; and with all her advantages, natural and domestic, she was now in great danger of suffering from intellectual solitude. She dearly loved her father, but he was no companion for her. He could not meet her in conversation, rational or playful.

    The evil of the actual disparity in their ages (and Mr. Woodhouse had not married early) was much increased by his constitution and habits; for having been a valetudinarian all hi's life, without activity of mind or body, he was a much older man in ways than in years; and though everywhere beloved for the friendliness of his heart and his amiable temper, his talents could not have recommended him at any time.

    Her sister, though comparatively but little removed by matrimony, being settled in London, only sixteen miles off, was much beyond her daily reach; and many a long October and November evening must be struggled through at Hartfield, before Christmas brought the next visit from Isabella and her husband, and their little children, to fill the house, and give her pleasant society again.

    Highbury, the large and populous village, almost amounting to a town, to which Hartfield, in spite of its separate lawn, and shrubberies, and name, did really belong, afforded her no equals. The Woodhouses were first in consequence there. All looked up to them. She had many acquaintance in the place, for her father was universally civil, but not one among them who could be accepted in lieu of Miss Taylor for even half a day. It was a melancholy change; and Emma could not but sigh over it, and wish for impossible things, till her father awoke, and made it necessary to be cheerful. His spirits required support. He was a nervous man, easily depressed; fond of every body that he was used to, and hating to part with them; hating change of every kind. Matrimony, as the origin of change, was always disagreeable; and he was by no means yet reconciled to his own daughter's marrying, nor could ever speak of her but with compassion. . .

    Table of Contents

    About the Seriesv
    About This Volumevii
    About the Textxi
    Part 1Emma: The Complete Text in Cultural Context
    Introduction: Biographical and Historical Contexts3
    The Complete Text21
    Contextual Documents and Illustrations382
    A Riddle385
    Robin Adair386
    from Unfortunate Situation of Females, Fashionably Educated, and Left without a Fortune. (1787)387
    from Letter to His Son (1750)389
    from Essays on the Picturesque (1810)390
    from Our Domestic Policy. No I. (1829)391
    Opinions of Emma (Ca. 1816)392
    Crossed Letter from Jane Austen to Cassandra (June 20, 1808)398
    The Frolics of the Sphynx (1820)399
    Square Pianoforte (1805)400
    A Barouche Landau (1805)401
    A View of Box Hill, Surrey (1733)401
    The Lincolnshire Ox (1790)402
    Part 2Emma: A Case Study in Contemporary Criticism
    A Critical History of Emma405
    Gender Criticism and Emma425
    What Is Gender Criticism?425
    Gender Criticism: A Selected Bibliography437
    A Gender Studies Perspective: Claudia L. Johnson, "Not at all what a man should be!": Remaking English Manhood in Emma441
    Marxist Criticism and Emma456
    What Is Marxist Criticism?456
    Marxist Criticism: A Selected Bibliography470
    A Marxist Perspective: Beth Fowkes Tobin, Aiding Impoverished Gentlewomen: Power and Class in Emma473
    Cultural Criticism and Emma488
    What Is Cultural Criticism?488
    Cultural Criticism: A Selected Bibliography503
    A Cultural Perspective: Paul Delany, "A Sort of Notch in the Donwell Estate": Intersections of Status and Class in Emma508
    The New Historicism and Emma524
    What Is the New Historicism?524
    The New Historicism: A Selected Bibliography538
    A New Historicist Perspective: Casey Finch and Peter Bowen, "The Tittle-Tattle of Highbury": Gossip and the Free Indirect Style in Emma543
    Feminist Criticism and Emma559
    What Is Feminist Criticism?559
    Feminist Criticism: A Selected Bibliography569
    A Feminist Perspective: Devoney Looser, "The Duty of Woman by Woman": Reforming Feminism in Emma577
    Combining Perspectives on Emma594
    Combining Perspectives: Marilyn Butler, Introduction to Emma597
    Glossary of Critical and Theoretical Terms615
    About the Contributors635

    What People are Saying About This

    Harold. Bloom

    "To me, as an American critic, Emma seems the most Englilsh of English novels....It is Austin's masterpiece, the largest triumph of her vigorous art."

    From the Publisher

    "No one creates silly English characters better than Austen, and Wanda McCaddon is up to the challenge." —-AudioFile

    Reading Group Guide

    1. Describe the class and rank of various characters in the village of Highbury. Compare the positions of Mr. Weston, Mr. Elton, Miss Taylor, Harriet, and Emma with others in Highbury. How do matters of class affect the interaction of these characters, and would you describe class as being rigid or flexible as it is depicted by Jane Austen? To what extent can class be said to be of central importance to the development of the novel, since it is one of the most important considerations in marriage? Does class seem to be treated differently by those in Highbury than it does by outsiders, for example Frank Churchill and Mrs. Elton? Do you think it is significant that no woman in Highbury is of Emma's age and rank?

    2. How does the relationship between Mr. Knightley and Emma change throughout the course of the novel? Although Austen does not directly tell us what their relationship was like during Emma's childhood, their long and intimate friendship is established at the novel's opening. In light of their occasional quarrels and Knightley's criticisms of Emma, for example, the criticism he made on Box Hill, how does Mr. Knightley feel about Emma? Do Mr. Knightley's feelings change as the novel progresses? If they do, what incidents account for the changes in his feelings?

    3. Does Emma act as a good friend to Harriet Smith? Are Emma's concerns for Harriet's education and refinement born of an honest desire to help, or is it something less altruistic? Are Mr. Knightley's criticisms of Emma's interference with Mr. Martin's marriage proposal justified? Does Harriet ultimately benefit from Emma's friendship or her attempts to help her?

    4. While matchmaking isthe central device in Emma, both for the plot and as a backdrop to develop characters, not all of the matches made in the novel are good. Compare the matches made between Mr. Weston and Miss Taylor, Emma and Mr. Knightley, Harriet and Mr. Martin, Jane Fairfax and Frank Churchill, and Mr. Elton and Mrs. Elton. Which are good matches and which are bad? What character traits in the couples make them suited or unsuited for each other? Why are the mismatches so important to the story?

    5. In the final analysis, is Emma a sympathetic character? Does she seem to have good intentions only marred by a slight desire to interfere with other people's lives, or is she thoughtless and unconcerned with the effects she has on others? In your estimation, is Emma ultimately moral or immoral? What specific incidents in the novel lead you to that conclusion?

    Eligible for FREE SHIPPING details

    .

    A lively young heiress takes up matchmaking, and her schemes result in comic confusion for a social-climbing parson, a chatterbox spinster, an enigmatic Romeo, and other inhabiatants of a 19th-century English village. Sparkling satire in one of Austen's finest novels

    Sparkling comedy of provincial manners concerns a well-intentioned young heiress and her matchmaking schemes that result in comic confusion for the inhabitants of a 19th-century English village. Droll characterizations of the well-intentioned heroine-one of Austen's immortal creations-and her hypochondriacal father-plus many other finely drawn personalities. This sparkling satire of provincial life is one of Jane Austen's finest novels.

    Customers Who Bought This Item Also Bought

    Recently Viewed 

    • Emma
      Average rating: 4.3 Average rating:
    From the Publisher
    "Jane Austen is my favorite author! ... Shut up in measureless content, I greet her by the name of most kind hostess, while criticism slumbers." —EM Forster
    Children's Literature - Paula McMillen
    Emma Woodhouse is not, at first, an easy character to like. She meddles in people's lives—especially their love lives—often with painful results. As the younger daughter of a landed family, she sits at the top of the village foodchain; for in Regency-era England social class controls everything. Emma is both victim and perpetuator of the system. When she begins to mentor a young woman in the village, she initially convinces Harriet that marrying a well-to-do farmer is "beneath" her. Emma's older sister, living in London and married to John Knightley, is effectively out of the picture and Emma is solely responsible for companionship and care of her hypochondriacal father. John Knightley's brother still runs the family estate nearby and has been a stalwart friend of the Woodhouse family for years. The local Mr. Knightley (George, as we learn late in the book), has taken a long-time interest in curbing some of Emma's less desirable interferences and snobbish behavior. After a fair amount of convoluted plotting and interpersonal drama, Emma acknowledges the folly of her ways and realizes that Mr. George Knightley is the person she truly loves. Emma, and Austen's work in general, have been valued for providing satirical insights on the social class structure of the time. This edition of Austen's classic is supplemented with minimal information about the author, "10 Things You Didn't Know About Jane Austen," and a "quiz" that allows you to rate your boyfriend. Although ostensibly designed to engage teen readers, these add-ons will not facilitate traversing a lengthy tome written in the language of the time which presents some challenges (e.g., "stoppt" for stopped, or "is not it") as well as some smiles (e.g., referring to inappropriate young men as coxcombs or puppies). The availability of relatively recent movie versions of Austen's works may entice some female readers to persist, however. Reviewer: Paula McMillen, Ph.D.
    VOYA - Donna L. Phillips
    For those who missed not only Austen's book but also the 1996 film and the 2010 PBS Masterpiece Classic, Emma is the story of a young woman who believes she is a consummate matchmaker, following one success for which she questionably claims full responsibility. She quickly finds a fresh focus for her matchmaking genius when she is introduced to Harriet Smith, a young woman of pleasing demeanor and fresh looks but unknown parentage. Despite this absence of pedigree, Emma is convinced that Miss Smith deserves a genteel mate. When a young farmer proposes to Harriet, Emma urges her to demur, then attempts with disastrous results to match her to three socially suitable gentlemen. Nearly too late, Emma realizes that the last of these, Mr. Knightley, is the man she really prefers for herself. Emma is one of nine classical romances reprised by HarperTeen. As other reviewers have noticed, each has a flowery red-and-white-on-black cover reminiscent of Stephenie Meyer's Twilight series. All but the ablest readers among Stephenie Meyer's fans will find Austen's seventeenth-century syntax a daunting read, with little resemblance to Meyer beyond its cover. Those who love Jane Austen, however, will appreciate any ploy that brings back a beloved and wonderfully insightful writer. Extras appended to Austen's original text include "10 Things You Didn't Know about Jane Austen" and a quiz, "Have you found your match? See if Emma would approve your choice!" These are not 5Q but will appeal to some teens. Reviewer: Donna L. Phillips

    Read More

    Sign In Create an Account
    Search Engine Error - Endeca File Not Found