Emma Woodhouse

The contrast between Emma's finesse conceit in believing herself to be capable of managing her to eminenty world and her various approaches to the style and content of the speech of the otherwise characters is the specific source of the comedy in the novel.

There does non have to be any falseness in the characters for Emma to be deceived. Harriet Smith, Miss Bates and Mr. Woodhouse all chatter in a air that brings out the worst in Emma as much as the ridiculous or malicious tones of the Eltons and the insincerity of vocal Churchill do. The designate of Emma at the center of a concert of voices--as she rapidly makes distinctions among them base on what she wishes to be true--is at its finest in the scene where she has immaculate the portrait of Harriet. Emma is surrounded by her father, Harriet, Mrs. Weston, Knightley, and Mr. Elton. The judicious remarks by Mrs. Weston, which ar more a criticism of Harriet's face (in comparison with Emma's perfection), and the mute observations of Mr. Knightley inspire the raptures of Mr. Elton who is capable of admiring even a tree in her drawing as being "touched with such irreproducible spirit!" (43). But when the discussion reaches an impasse, in which there is genuinely nothing left plainly the assertion that Harriet is shown too long-shanked and the counter-assertion that she is not, Emma is rescued. She needs rescuing, of course, because she is fully aware that she has drawn Harriet too tall "but would n

Bradley, A. C. "Jane Austen: A Lecture." Emma: An supreme Text: Backgrounds, Reviews, and Criticism. Ed. Stephen M. Parrish. second ed. New York: Norton, 1993. 354-57.

Farrer, Reginald. "Jane Austen. ob. July 18, 1917." Emma: An Authoritative Text: Backgrounds, Reviews, and Criticism. Ed. Stephen M. Parrish. 2nd ed. New York: Norton,1993. 357-59.

The speech of Harriet Smith and Frank Churchill has the same everyday influence as her father's. Harriet hardly ever speaks except in a question and this flatters Emma who believes she is acting out of kindness with Harriet, but is really experiencing "the pleasure of patronage and management" (Bradley 357). Frank Churchill's dulcet manner of speaking, and his pretend flirtation with Emma, also give her set off to admire herself. She is not really interested in him and she is " moreover gratifying her vanity at a superficial level" (Butler 385). But she suppresses the awareness of how shallow her behavior is with the insincere Frank while, with Harriet, she uses the forms of Harriet's speech to reconfirm the girl's need of her.

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