Seeking an ideal in life

Charlotte Brontë: Emma (1855)
in Unfinished Novels
Introduction by Dr Tom Winnifrith
Alan Sutton Publishing 1993

Not to be confused with Jane Austen’s Emma (1815), Charlotte Brontë’s fragment of a novel remained incomplete at her death in 1855, forty years after Austen’s saw the light of day. As Tom Winnifrith in his introduction reminds us, Austen’s Sanditon and Dickens’ The Mystery of Edwin Drood continue to fascinate us, getting us wondering what the authors may have intended had they managed to finish their tales; and the same applies to Emma. Frances Hodgson Burnett’s A Little Princess allegedly took Brontë’s broad hints for a plot and ran with them, but all we are truly left with in the original is that tantalising opening, the one beginning “We all seek an ideal in life.”

The first puzzle is the identity of Emma. Who is she? The narrator (who addresses us directly as “reader”) tells us she is the widow Mrs Chalfont, and we guess she is around forty (perhaps not coincidentally about Charlotte’s age). Thereafter she disappears from the fragment’s pages. Is she the titular character? We never find out.

The second mystery concerns the identity of the poor little rich girl called Matilda Fitzgibbon sent to a small girls school run by the Misses Wilcox. What’s the history of this taciturn girl? Who is her father, Conway Fitzgibbon, and why is there no trace to be found of him when the end of term arrives?

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Of blunders and pardons

The manor house at Steventon (where Jane’s father was rector) — perhaps a model for Hartfield.

Following a review I’ve discussed the who, when and where of Jane Austen’s Emma, and then intimated I’d get onto the what. In this post I plan to briefly discuss the novel’s structure before bringing out some themes, chiefly by means of what the characters say. Needless to add, this is not meant to be an exhaustive or detailed analysis, merely a sketch of what has struck me about this superbly crafted novel.

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Of Highbury, in Surrey

I promised some musings on the subject of Jane Austen’s Emma, based on notes taken while reading it for the first time, and so here is my offering … while it is still fresh in my mind. As regular readers will be familiar from previous musings on novels that have caught my fancy, I’ve mainly based my thoughts on the four ‘W’s — who, what, when and where.

Here comes the customary warning of spoilers.

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The imaginist

Edmund Blair Leighton: The Piano Lesson

Jane Austen: Emma
Edited by James Kinsley and David Lodge
World’s Classics 1980 (1971)

How much more must an imaginist, like herself, be on fire with speculation and foresight! — Emma, Volume III Chapter 3

Emma thoroughly deserves its plaudits as an epitome of the author’s skills. Its status as Austen’s longest novel and the main product of her mature years ensures that any assessment I give is bound to be brief and inconsequential; but I’d be remiss if I didn’t add my own two-penn’orth of praise to the general applause.

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