jane austen

Been reading: Jane Austen and Hemingway

The last few weeks I have been reading the unlikely combo of Jane Austen and Hemingway. I was actually on a book devouring roll having read 4 novels in about 3 weeks. Maybe it just seems like unusual progress after the long haul of Middlemarch lol.

I started with Austen’s Mansfield Park. I’ve never been much of a Janeite. I like her work but I don’t get giddy about it. However, that totally changed with Mansfield Park; I finally get the Austen love. I was obsessed with MP and could not put it down. It’s funny because MP seems to be the least popular of Austen’s novels. I’ve just got to be contrary I guess. I can see why people would dislike the main character, Fanny Price. She is a very quiet, controlled character; always doing right, frequently crying, or feeling dejected and out of place in her Uncle’s home. I really related to her shyness though and her isolation within the family. I preferred her to Austen’s more forceful, saucy leading ladies. I certainly like some sauciness but the combo of a sarcastic, biting narrator, and the same in the main character, is too much for me. It leaves me with no one to really feel for. Mansfield Park was much different in that respect. It is a much quieter book, there is not the same bouncy dialogue, as in Pride and Prejudice for example, but there is still tons of sarcasm from the narrator, she pretty much never stops mocking her characters, which is always good fun.

As for the plot of Mansfield Park, I was much more into it than other Austen works, probably because I genuinely cared for Fanny. *******SPOILERS AHEAD Avert thy eyes if you haven’t read MP***************

I really loved Henry and wanted Fanny to come around to him. I knew where Austen was bound to lead the story but I didn’t want to believe it. When the Henry bit went down I was all Noooooooooo. Imagine that boy from the Britney Spears Youtube vids: Why Henry Why!!! *SOB* Yeah that was me :P And I really did not want Fanny to end up with Edmund. What a boring pair plus kind off creepy. I know the cousin thing was okay back then but he was more like a brother. Ick.

******END SPOILER******

A taste of Austen sarcasm in Mansfield Park

In all the important preparations of the mind she was complete; being prepared for matrimony by a hatred of home, restraint, and tranquility; by the misery of disappointed affection, and contempt of the man she was to marry.

Since I was feeling the Austen love, next I read Persuasion, which is the last of the JA novels I hadn’t read. Like Mansfield Park, Persuasion is a quieter story with a subdued main character. Probably my favorite aspect of this novel was Austen branching out to different types of people / sections of society. In most of her books you get almost exclusively upper middle classes but Navy men and their families are very prominent in this book (and not simply as flirts, as in Northanger Abbey). Austen’s contempt for status and appearance obsessed upper classes is also blatent. I think this is the most traditional society challenging of all Austen’s work. Some people say Austen was very conservative but in Persuasion I think you can see how she may believe in the maintaining of the classes, but she is fully against the upper classes neglecting their duty to those below them.

My favorite characters in Persuasion were Admiral and Mrs. Croft. They are so sweet! I love how able Mrs. Croft is, she goes everywhere, around the world on a ship even, with her husband. The thought of them bouncing through the countryside and tipping over their carriage cracks me up. The Croft’s are the only example of a wonderful marriage in Austen’s books that I can think of.

After Austen I did a 180 and decided I needed to read more Hemingway. Previously I had only read a couple of his short stories, The Old Man and the Sea, and A Moveable Feast. I loved the last two, was almost obsessed with A Movable Feast, so I expected goods thing but didn’t know if Hem’s other novels would be too war focused for me. I started with A Farewell to Arms and was surprised to find it was more love and relationship focused and less scenes of battle. Like when I read The Old Man and the Sea, I found my mind completely wrapped up in A Farewell to Arms after I put it down. The most engrossing thing about the book for me was reflecting on how the entire story and characters are not necessarily meant to be “true” or multi dimensional, rather they are completely formed and recalled from the main character (Frederic) Henry’s memory. It’s all from Henry’s perspective and his memory is warped by guilt, hopelessness, and knowing how it will all end. At first I was annoyed by his love interest Catherine ( I swore if she said Darling one more time I was going to gag). It’s easy to see Catherine as a poorly written character with the theory that Hemingway doesn’t understand women and can’t write one without making them into some sort of angel/whore stereotype. But I don’t think that is the case. I see Hem’s female characters written as his male characters and entire plots are written, with the depth all below, or even previous the plot, and to be formed by the reader’s own mind (his Iceberg theory). We see Catherine only through Henry’s memory. She and all the characters in the story are distorted reflections. If you think about how you remember people from your past, it’s not a multi-dimentional view. I think we tend to remember the idiosyncrasies, unusual vocab or speech patterns they used and we construct an imagine of them from their most distinct elements. Our memories are also very distorted by the emotions we have tied up in that relationship. It’s very easy to look back and remember someone as perfect, as eternally giving, and forget all the disagreements you ever had.

Next I read The Sun Also Rises. Like Catherine, the female character in this book, Lady Ashley, is a puzzle. Hem likes to let little pieces of the past slip into the story and it’s only when you walk away from the book and put all these pieces together do you start to understand the actions of the characters. Lady Ashley on the surface just seems like a drunken ho but when you begin to understand her past relationships and consider that the hopelessness created by WWI was not confined to the men who served in the war but how it wiped out for an entire generation the belief in or possibility of the “normal happy life”, you begin to understand the stupid things she does and why she is so hungry for a distraction. I actually respect Hemingway for showing that it was NOT just the men who suffered but, like Catherine in A Farewell to Arms, many women were driven nearly crazy by the suffering that was all around them.

In The Sun Also Rises the war is just a looming black cloud, it ruined the past and obscures the future. There is barely any plot to the story, let’s be honest the only real “action” is drinking (if you don’t have vicarious liver damage, than you’re not reading Hemingway). If I learned anything from Moby Dick it was that plots are over-rated and so, I loved The Sun Also Rises. Even if you are one of those people that wants “a story”, read this book to the end anyway because the last line is ah-mazing. I’m going to live the rest of my life in constant trepidation, just waiting to spring out my Hem quote on someone.

So while there’s not much that really happens in this book there are some great characters. I grew to understand Lady Ashley but I never liked her much. Who I loved was Bill. Jake is our main character and Bill is his one friend that is not a complete utter pita; he’s also very funny.

I could go on forever about how the characters in both of these books are constructing imaginary lives because the war made them aware of the illusion of a “future” and about how to me the term Lost Generation so perfectly sums up their inability to, within the rubble of the War, find the path that leads forward into life BUT it’s getting late and I must get back to reading For Whom the Bell Tolls ;)

Add to the shelf: Classic authors in context

Blackwell’s Companion to Romanticism
I’ve had this book on my Amazon wishlist for quite some time but was being held back by the price. I finally bit the bullet on it and I’m relieved to find I’m really enjoying it. This companion to Romanticism contains 52 essays on all aspects of the Romantic movement. Part 1 of the book puts Romanticism in context with chapters on movements leading up to Romanticism and historical context, including the French Revolution. Part 2 has 23 essays discussing individual novelists and poets. Part 3 discusses genres of Romanticism; the novel, gothic, travel writing, etc. Part 4 is more eclectic with essays on various issues and debates. Feminism, historicism, psychological view points plus comparisons and influences such as England and Germany, Shakespeare and the Romantics, Milton, etc.

I’m currently on Chapter 5, Britain at War, and so far I’ve found the essays very well written. The authors seem to know their subject very well and express their points clearly with factual information to back it up. I’ll compare this to what I feel are some lesser and more jumbled essays next.

David Hume had taken the skepticism of the Enlightenment to its logical conclusions. In his Treatise of Human Nature Hume argued that the notions that we have of cause and effect are simply linked to the way which we experience the events in space and time and that such notions of causation have no objective existence. Thus, one’s knowledge of causation is a matter of habit or custom, not a logical certainty. Hume expressed radical skepticism about the nature of the human self, concluding that what one called the self was merely an ever-changing ‘bundle of sensations’. It was this position that ..laid the foundations for the Romantic Idealism
~Peter Kitson, Beyond the Enlightenment

 

The Cambridge Companion to the Victorian Novel 
I purchased the kindle version of this book and I’m glad that I did because I’m not very impressed with it. Unlike the Blackwell companion, the essays in the Cambridge companion can’t seem to express a complete thought or theory. This book has 11 essays putting the Victorian novel in historical context, discussing the industrial revolution, gender roles, race, etc. So far I’ve read 6 of the 11 and most of the essays are less about sharing with the reader “actual information” and more about the authors musings. I often felt like the authors were not expressing their opinion clearly and they jumped on to another topic or aspect of their topic before they had fully expressed or gave any backing evidence for their first opinion. The exception to this sort of scattered writing was chapter 2, Simon Eliot’s The business of Victorian publishing. Eliot seemed to know his topic very well and shared much interesting information and perspective.
I’m not sure if I will go ahead and finish this book or not. I was pretty disappointed with it but maybe the last couple chapters will surprise me.

 

The Cambridge Companion to The Brontes 
Now after the Companion to Victorian novel mess, I was concerned that this title would also be a total flop. I bought this book on Amazon used for about $2.50, so at least I didn’t have much invested in it lol. To my relief though, this Cambridge companion is great. I haven’t been able to put it down. When I saw that the very first essay was by Juliet Barker my spirits and hopes where lifted. I have the humongous The Brontes by Juliet Barker on my shelf. I haven’t read it yet but I know she is one of THE experts on the Brontes. As expected her essay, The Haworth context, was very interesting. She gave me a whole new view point on the Bronte’s father Patrick.
I am now on Chapter 6, Shirley and Villette, so excited to read this today. Probably my favorite essay so far was Angela Leighton’s The Poetry. It lead me to looking up Emily Bronte’s poem Remembrance which I posted the other day. The first line: Cold in the earth- and the deep snow piled about thee, is still running around my mind.

‘Cold in the earth- and the deep snow piled above thee’, doubles not only the fact but also the sensation of cold. The line gets colder. It probes the buried source of coldness, making cold felt. By piling on snow as well, the poet transforms the sensation of cold into literal weight, as if to force or hold something down. Snow buries the dead doubly ‘deep’, as if earth itself were not deep enough.
~Angela Leighton, The Poetry

Jane Austen in Context, the Cambridge edition
I bought this title used from Amazon as well, in the hardcover. My edition, Jane Austen in context, is just one of the series that cover all of Austen’s novels, her juvenilia, and letters. I’ve flipped through the other titles online, and it looks like each includes a lengthy introduction, numerous notes on the text, and in some cases several appendixes. Not sure if I will make it a goal to collected each but I am tempted. ;)
JA in Context covers in Part 1: Life and works, a short biography, essays on Austen’s language, literary influence, her poetry, etc. Part 2 Critical fortunes includes the reseption of Jane’s work, publishing history, and the cult of Austen. Part 3, Historical and cultural context, is the longest section. It has several essays detailing all aspects of Jane Austen’s times, Agriculture, Dress, Education, Money, and Rank, etc.
I read through the first essay, the biography. It was short but well written and it made its main focus something that is often over looked in other Austen bios, her personal finances. I’ve read snips of some of the other chapters and so far, they all look very interesting and well researched.

Edward Austen (Jane’s brother) eventually enjoyed an income greater than Mr. Darcy’s, nearly £15,000 a year, but he was not at first remarkably generous to his mother and sisters after his father’s death in 1805 left them virtually homeless. Still, his initial pledge or £100 a year did almost double his mother’s income, and eventually he housed her and his sisters in the cottage at Chawton that has become the Jane Austen museum.
~Jan Fergus, Biography Jane Austin in Context

If you are interested in flipping through any of these books you can find them in my Classics Book shop, under Companions and Context. Well, you won’t find the Cambridge Victorian companion becasue I don’t recommend that one lol but you will find the others plus some other goodies to boot. The Classics book shop is just a project I am working on for fun. It is an Amazon affiliate store that I don’t really expect any traffic on but it is hella’ fun picking out my favorite books to add to it lol.
You can find additional companions, literary criticism, and biographies in the book shop under the Lit movement category pages and under the individual authors. Note that the list price for each book is just the Amazon price, click through to check for deals on used editions. The main link for the Book Shop, if you feel like browsing, is at the top of the blog home page.

Preparing for The Madwoman in the Attic

One of my goals for 2012 is to finally read The Madwoman in the Attic by Sandra Gilbert and Susan Gubar. I bought this book in April and read a little of it at that time but I quickly realized there were several other books I needed to read first if I was going to truly appreciate and understand Madwoman.

In April of 2011, I had only just begun my Classics reading project. I had read Wuthering Heights, Jane Eyre, and Sense and Sensibility, and was right in the midst of reading Villette. Back then I had only a vague idea of who George Eliot was and no clue about Margaret Fuller or Virginia Woolf. I had not even read my now much loved Mary Shelley! I was in a sad state reading wise lol. Comparing my knowledge of 19th century woman writers now to back then, I am really pleased with the progress and understanding I have achieved. But I know there are several books I needed to read if I am going to understand all the reference in Madwoman. So, I decided to flip through it and make myself a list.

First, let me give you the synopsis of The Madwoman in the Attic via Wikipedia

The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination, published in 1979, examines Victorian literature from a feminist perspective. In the work, Gilbert and Gubar examine the notion that women writers of the 19th Century were confined in their writing to make their female characters either embody the “angel” or the “monster.” This struggle stemmed from male writers’ tendencies to categorize female characters as either pure, angelic women, or rebellious, unkempt madwomen. In their argument, Gilbert and Gubar point to Virginia Woolf who says women writers must “kill the aesthetic ideal through which they themselves have been ‘killed’ into art”. While it may be easy to construe that feminist writers embody the “madwoman” or “monster,” Gilbert and Gubar stressed the importance of killing off both figures because neither the angel nor the monster are accurate representations of women or women writers. Instead, Gilbert and Gubar claimed that female writers should strive for definition beyond this dichotomy, whose options are limited by a patriarchal point of view.

Are you as excited about this as I am?! Wait until you see the list of authors discussed in the book…

I decided to break it down for myself by chapter. There are so many books I’ll need to read, I’m not sure I can read all of them and the 2012 list I had already planned. So I may just read each chapter of Madwoman as I complete the works referenced. Laying it aside until the next chapter’s books are completed and then picking it back up again. I kind of hate on again off again reading but I’m not sure there is any other way if I want to get to this book anytime soon.

Chapter 1 The Queen’s Looking Glass
Goethe: Wilhelm Meister’s Journeyman Years (especially the character Makarie)
Brothers Grimm: Little Snow White
People to know: Anne Finch and Mary Elizabeth Coleridge

Chapter 2 Infection in the Sentence
Harold Bloom: Anxiety of Influence
Also referenced but to a lesser extent
Charlotte Perkins Gilman: The Yellow wallpaper (ebook)
Anne Bronte: The Tenant of Wildfell Hall
People: Elizabeth Barrett Browning

Chapter 3 The Parables of the Cave
Mary Shelley’s intro to The Last Man (online)

Chapter 4 Shut up in Prose: Gender and Genre in Austen’s Juvenilia
Jane Austen: Love and Friendship (ebook)
Sense and Sensibility
Northanger Abbey
Also referenced but to a lesser extent
Mansfield Park
Pride and Prejudice

Chapter 5 Jane Austen’s Cover Story
Maria Edgeworth: Castle Rackrent (ebook)
Austen: Northanger Abbey
Mansfield Park
Persuasion
Also referenced but to a lesser extent
Pride and Prejudice
Emma

Chapter 6 Milton’s Bogey
Milton: Paradise Lost
Charlotte Bronte: Shirley
Also referenced but to a lesser extent
Byron: Manfred
Woolf: A Room of One’s Own

Chapter 7 Horror’s Twin: Mary Shelley’s Monstrous Eve
Shelley: Frankenstein
Also referenced but to a lesser extent
George Eliot: Middlemarch

Chapter 8 Looking Oppositely: Emily Bronte’s Bible of Hell
Bronte: Wuthering Heights

Chapter 9 A Secret, Inward Wound
Charlotte Bronte: The Professor

Chapter 10 A Dialogue of Self and Soul: Plain Jane’s Progress
Bronte: Jane Eyre

Chapter 11 The Genesis of Hunger
Bronte: Shirley

Chapter 12 The Buried Life of Lucy Snowe
Bronte: Villette

Chapter 13 Made Keen by Lose
George Eliot: The Lifted Veil
Also referenced but to a lesser extent
Eliot: Armgart (pdf)

Chapter 14 George Eliot as the Angel of Destruction
Eliot: Scenes of a Clerical Life
Middlemarch
Also referenced but to a lesser extent
Daniel Doranda
People: Margaret Fuller, Harriet Beecher Stowe

Chapter 15 The Aesthetics of Renunciation
Christina Rossetti: Maude
Also referenced but to a lesser extent
Rosetti: Goblin Market
Browning: Aurora Leigh (wiki)

Chapter 16 A Woman –White
Emily Dickinson

I’m lucky that during 2011 I read a few of these books. I’ve already read much of the Austen: Sense and Sensibility, Northanger Abbey, Pride and Prejudice, and Emma. That leaves me to read Love and Friendship, Mansfield Park, and Persuasion; not undoable. As for the Brontes, I’ve read Wuthering Heights, Jane Eyre, and Villette. I still need to read Shirley, The Professor, and The Tenant of Wildfell Hall. I am more than happy to do so since I love the Bronte sisters. I’ve already read Frankenstein of course and it’s all I can do to not read Chapter 7 of Madwoman right now, I’m so interested to see what they have to say about one of my favorite books.

George Eliot will be the biggest challenge because of her books referenced I have only read The Lifted Veil. Eliot’s books are massive too, so I may have to wait until 2013 to read them all and the corresponding chapters. I am completely new to Emily Dickinson too, so her poems and chapter 16 of Madwoman will probably be an ongoing project.

I’ll also need to read Milton’s Paradise Lost, Byron’s Manfred, and Woolf’s A Room of One’s Own. Luckily I already have these, and most of the other to be read titles, on my shelf. The more obscure books like Rosetti, Goethe, Edgeworth, and Browning I hope to find ebooks for.

The Mysteries of Udolpho and Northanger Abbey

I know a few of you have The Mysteries of Udolpho on your To Read list and several bloggers will be reading it soon for the Classics Circuit, so I am not going to ruin it for everyone by outlining the entire plot lol. What I want to talk about instead, is the style of Udolpho and how that compares to Jane Austen’s spoof of it, Northanger Abbey.

First off, I was quite surprised by how long the book went on before we got to Udolpho! The first 60 pages of the book are more travelogue through the south of France than Gothic mystery. It was at least 200 pages before I really got sucked into the book and started to greedily turn the pages. Before I put you off Udolpho though, those first 200 pages where beautiful. Radcliffe writes in a very poetic prose. She often includes short poems with in the novel and you begin to read the prose as rhythmically as the poetry.

Emily, often as she travelled among the clouds, watched in silent awe their billowy surges rolling below; sometimes, wholly closing upon the scene, they appeared like a world of chaos, and at others, spreading thinly, they opened and admitted partial catches of the landscape–the torrent, whose astonishing roar had never failed, tumbling down the rocky chasm.

Although I enjoyed Radcliffe’s rich written landscapes, I’ve noted before that my favorite novels are equal parts scenery, character development, and dialogue. The first third of Udolpho therefore dragged a bit, as it was almost all scenery and little character depth. To keep myself from feeling like I was languishing, or not making enough progress through the 670 pages, I set a goal of reading just 30 pages a day. It was not long before I was reading 60 to 100 pages a day because after the initial wandering through the countryside, the novel gets really good. If you pick up Udolpho and find it too slow, I really encourage you to push through the first 200 pages. Speed read if you need to because the following 400 pages are a good time. Crying, fainting, ghosts, swords fights, everything you could possibly want in a gothic romance.

With said crying and fainting drama, you might expect the book to be a bit cheese-ball. Certainly it seems to have the reputation of silly romance that is parodied by a classic novelist rather than being a classic itself. I wonder how many that have written off Udolpho have actually read it. In my opinion The Mysteries of Udolpho is a precursor to the entire Romantic movement. The Romantic Period in English literature is said to have started with Williams Wordsworth and Samuel Coleridge in 1798. The Mysteries of Udolpho was published in 1794 and was Radcliffe’s fourth novel. Wikipedia describes Romanticism as:

Romanticism found recurrent themes in the evocation or criticism of the past, the cult of “sensibility” with its emphasis on women and children, the heroic isolation of the artist or narrator, and respect for a new, wilder, untrammeled and “pure” nature. The movement validated strong emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as trepidation, horror and terror and awe —especially that which is experienced in confronting the sublimity of untamed nature and its picturesque qualities, both new aesthetic categories. It elevated folk art and ancient custom to something noble.

This is The Mysteries of Udolpho to a T. Through Udolpho Radcliffe criticizes the aristocratic past and male domination over women. Emily St. Aubert (our heroine) may spend half the book crying but she is strong enough, even while completely isolated in the crumbling castle of Udolpho, to resist the will of the evil stepfather character Montoni. Emily positively drowns in sensibility but her over emotion is constantly checked by herself and wiser characters. The sublimity of nature is at least 50% of Udolpho. Characters who are awestruck by the power and beauty of the natural world are our heros and heroines. Radcliffe depicts the old ways of the peasants and country living as more natural and moral. Where as the characters that have been exposed to the wider world, the cities and modernization, are corrupt and jaded.

While Radcliffe allows her characters to indulge in epic sensibility, the lesson they must learn is how to balance that emotion with practicality. Sensibility brings with it an appreciation of nature, benevolence, and empathy. Without these characteristics a person becomes hard and selfish. But as Emily’s father tells her, too much sensibility and we become the victims of our feelings. It may be surprising that the moral in The Mysteries of Udolpho is the very same message Austen wants to get across in Northanger Abbey, and later in the rewritten Sense and Sensibility.

Northanger Abbey is a perfect spoof of Radcliffe’s work but Austen, pardon the expression I simply cannot think of a more accurate one, is not taking the piss as much as one might assume. Austen, as narrator, sings the praises of the novel and her most intelligent  character, Mr. Tinsley, loves a good gothic romance. Northanger Abbey is an affectionate spoof. If anything Austen’s most severe criticism is for the reader who does not see the lesson of unchecked sensibility in The Mysteries of Udolpho. This is the greatest error of our Northanger heroine, Catherine. Catherine must learn that in the real world letting her mind run away with the sublime feelings of horror and mystery only leads to embarrassment.

My favorite part of Northanger Abbey is the very first chapter, where Austen sets up Catherine as the complete opposite of the gothic heroine she thinks she is. Where as Udolpho’s Emily is beautiful, rich, and talented, Catherine is middle class, barely attractive, with no skills or appreciation of nature.

Emily in The Mysteries of Udolpho:

 In person, Emily resembled her mother; having the same elegant symmetry of form, the same delicacy of features, and the same blue eyes, full of tender sweetness. St. Aubert cultivated her understanding with the most scrupulous care. He gave her a general view of the sciences, and an exact acquaintance with every part of literature. She discovered in her early years a taste for works of genius.

…a room, which Emily called hers, and which contained her books, her drawings, her musical instruments, with some favorite birds and plants. Here she usually exercised herself in elegant arts, cultivated only because they were congenial to her taste.

It was one of Emily’s earliest pleasures to ramble among the scenes of nature; nor was it in the soft glowing landscape that she most delighted; she loved more the wild wood walks, that skirted the mountain; and still more the mountain’s stupendous recesses, where the silence and grandeur of solitude impressed a sacred awe upon her heart.

Catherine in Northanger Abbey:

Catherine, for many years of her life, was as plain as any. She had a thin awkward figure, sallow skin without color, dark lank hair, and strong features; -so much for her person;- and not less unpropitious for heroism seemed her mind. She was fond of all boys’ plays, and greatly preferred cricket, not merely to dolls, but to all the more heroic enjoyments of infancy, nursing a dormouse, feeding a canary-bird, or watering a rose-bush. Indeed she had no taste for a garden; and if she gathered flowers at all,it was chiefly for the pleasure of mischief- at least so it was conjectured from her always preferring those which she was forbidden to take.

-Such were her propensities- her abilities were quite as extraodinary. She never could learn or understand any thing before she was taught; and sometimes not even then, for she was often inattentive, and occasionally stupid.

You really must read a gothic romance like Udolpho prior to Northanger Abbey to appreciate it. I read Abbey first and found it amusing but kind of boring. Rereading it after Udolpho though was hilarious. There are so many funny juxtapositions between Udolpho and Northanger Abbey, that I may have to do a separate post about them.

So while Udolpho and Northanger Abbey share the same moral lesson, poor Catherine takes her knocks and makes an ass of herself in the mediocre reality of a newly remodeled, and scrubbed of romance, English abbey. While Emily’s lesson is learned traipsing through the south of France or holed up  in a magnificent castle where Italian Counts fall madly in love and sword fight over her. I surely hear Austen mumble- Pfft, must be nice!

____________________

This review is part of the R.I.P. challenge. Click HERE for more great reviews of mysteries, thrillers, and other creepy stuffs.

Jane Austen’s Emma finished

I waited too long to post my impressions of Emma. It’s much harder to accumulate and be passionate about my thoughts when it’s been 2 weeks or so since I finished the book. The initial feelings I posted on Emma still hold true. I never did much warm up to her. Her opinions on other people’s place in society and her constant reminders to us that she is the top of the Highbury totem poll bugged me.

A large part of the story is how Emma decides to elevate a random pretty girl, Harriet, in society. By simply being her friend and planning a love match for her, Emma thinks she can change how the world sees Harriet. This sounds kind and yet, Emma really never stops looking down on Harriet. Even the narrator seems to not just be saying Emma shouldn’t meddle but that Harriet has her place in society for a reason and should be left there. That she is by nature a lower class and nothing can change that. I get this opinion from the narrator and Emma again with other characters in the book. Characters like Mrs. Elton who have money but it being new money, she is also considered below Emma, looked on scornfully and made fun of. Mrs. Elton is certainly annoying but she really is not very different from Emma herself, in her meddling and high opinion of herself. The only difference between them maybe being that Mrs. Elton voices all her high opinions of herself and Emma leaves them in her head. It is Austen’s intention to show the classism of her time but even though she mocks it, you feel she believes in it, which is unsettling to me and kept me from really loving the book.

As I noted in my first Emma post, this novel is quieter and more subtle than Pride and Prejudice. Although it took me a bit to get used to the bubbly nature of P&P after reading so much Bronte, I find I really missed that sassy attitude of the younger Jane Austen. I enjoyed reading Emma, even though I didn’t like her, but I was never completely engrossed in the book and dying to pick it up again.

I was hoping to become fonder of Emma as I read but I really never felt she made much progress. She may have learned to not stick her nose in other people’s business as freely but….yeah, not really. You can totally see her forgetting this lesson and indulging once again in other people’s love life. She is really just bored. She has too much of the good life. Easy money, good looks, clever but does not strive for learning or exceptional skills. Austen obviously wants to point out the downfall of being a woman of means but I felt like she left us hanging. Emma never changes, in the end she still has it all, exactly how she wants it. She will continue to be bored and rather pointless. I suppose that is the way of the world though and the most honest ending.

As always with Austen, there was some great writing in Emma. Austen can put a smile on your face even when, or especially when, you don’t like any of the characters. My favorite passage is when Emma and several neighbors, including the obnoxious Mrs. Elton, visit Mr. Knightly’s estate to pick strawberries.

The whole party were assembled and Mrs. Elton in her apparatus of happiness, her large bonnet and her basket, was very ready to lead the way in gathering, accepting, and talking. Strawberries, and only strawberries, could now be thought or spoken of. “The best fruit in England–everybody’s favorite–always wholesome. These the finest beds and finest sorts Delightful to gather for one’s self–the only way of really enjoying them. Morning decidedly the best time–never tired–every sort good–hautboy infinitely superior–no comparison–the other 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 renewed–gardeners thinking exactly different–no general rule–gardeners never to be put of 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.”