The MOVIE

I highly recommend watching at least one version of the film:

1) 1996 this one is short, but the actors are quite good. It skips a lot but gives the appropriate tone which Austen probably intended to transmit.

https://www.youtube.com/watch?v=T4SjTZdp298

2) 2009 version: this one is the most complete although one could argue that the actress is overdoing her role as Emma. I couldn't find it on youtube, except for this excerpt. Maybe you can buy it or borrow it from the library?

https://www.youtube.com/watch?v=IZNyIzVh6aM

3) There is also a version with Gwyneth Paltrow but it doesn't focus as much on the other characters. Emma is the star.

4) Clueless. I haven't seen it. It's a modern version but I am not too attracted to the idea.

Happy Movie night.

I can send some questions that will help you view the movies, but it's a good way to see if a classic like Emma can be successful in a movie form.

Volume 2: point of view

There are many things to focus on when reading Volume II of Emma

Mrs. Elton: why does Emma despise her? Why is she a caricature of Emma? What are some of the unpleasant aspects of her personality?

Frank Churchill: Why is he such a mystery? How does Jane Austen as a writer keep up the deception? Here is a very interesting article about the style in which Austen writes which is called indirect free speech. It is a technique that makes us think through Emma's head.

Let me explain. Normally a writer uses direct speech (quotes) to show in a straightforward way what someone is saying. Or a writer uses indirect speech to voice the omniscient (all-knowing) narrator.
Well, Austen will use something that looks like indirect speech but it isn't as neutral as one would expect.

Click onto this fascinating article to understand this device better:

Flavin article

Here is a quote from another interesting website:
The point of view in this novel is more complex than the use of an omniscient narrator might suggest because for most of Emma, the narrator presents events and characters from Emma's perspective; in other words, generally she is presenting Emma's thoughts, feelings, and judgments. Thus the reader must distinguish between Emma's values and judgments and the narrator's. Sometimes the reader must infer the narrator's view from the use of language--perhaps an ironic word or phrase appears in the flow of Emma's thoughts to distance the narrator from Emma and thereby imply the narrator's views. Or the narrative unobtrusively shifts from Emma's perspective to the narrator's for a sentence or two or in the choice of a phrase or even one word.

To read more, go here http://academic.brooklyn.cuny.edu/english/melani/novel_19c/austen/pv.html

Task 2: google drive

After having looked at the background information, please go to the google drive that I shared with you and fill out ideas that you have. They don't have to be in perfect sentences, just notes.

https://docs.google.com/document/d/1WHN2Eptn-oAQMMVP8wZpTrhkZf1EqtBdBV3C2tUeoto/edit?usp=sharing


That way we have an online discussion and I will be going in to make comments as well.
Each person should add two things in each table (marriage, engagement, illegitimacy, class) on both sides: 1800s and today.

This way we try to understand how life was for people back then.
Let me know if you have a problem accessing google drive.

Marriage and engagements in the Victorian Period

This text from this website: http://www.literary-liaisons.com/article009.html
can help us understand Emma. I will underline and bold the sections which are particularly relevant to our reading.

Courting the Victorian WomanBy Michelle J. Hoppe Courtship was considered more a career move than a romantic interlude for young men, as all of a woman's property reverted to him upon marriage. Therefore courting was taken very seriously--by both sides. Men and women were careful not to lead the other on unnecessarily.  From the time she was young, a woman was groomed for this role in life--dutiful wife and mother. Properly trained, she learned to sing, play piano or guitar, dance and be conversant about light literature of the day. She also learned French and the rules of etiquette as well as the art of conversation and the art of silence.   COMING OUT--THE COURTSHIP RITUALComing out meant a young woman had completed her education and was officially available on the marriage mart. Financial or family circumstances might delay or move up a girl's debut, though typically, she came out when she was seventeen or eighteen. She purchased a new wardrobe for the season, in order to appear her best in public. A girl was under her mother's wing for the first few years of her social life. She used her mother's visiting cards, or that of another female relative if her mother was dead. This same person usually served as her chaperone, as a single girl was never allowed out of the house by herself, especially in mixed company.  Courtship advanced by gradations, with couples first speaking, then walking out together, and finally keeping company after mutual attraction had been confirmed. But a gentleman had to take care in the early stages of courtship. If he was introduced to a lady at a party for the purpose for dancing, he could not automatically resume their acquaintance on the street. He had to be re-introduced by a mutual friend. And then, only upon permission of the lady. The lower classes had opportunities to socialize at Sunday Service, Church suppers and holiday balls, while upper classes held their social events throughout the season. The season ran from April to July. Some families arrived in town earlier if Parliament was in session. A typical debutante's day meant she rose at 11a.m. or 12 noon, ate breakfast in her dressing room, attended a concert or drove in the Park, dined at eight, went to the opera, then to three or four parties until 5 a.m--all under the watchful eye of her chaperone.
ALL OF THIS IS IMPORTANT	Great care had to be taken at these public affairs, so as not to offend a possible suitor or his family. Following are some rules of conduct a proper female must adhere to: She never approached people of higher rank, unless being introduced by a mutual friend.  People of lesser rank were always introduced to people of higher rank, and then only if the higher-ranking person had given his/her permission.  Even after being introduced, the person of higher rank did not have to maintain the acquaintance. They could ignore, or 'cut' the person of lower rank.  A single woman never addressed a gentleman without an introduction.  A single woman never walked out alone. Her chaperone had to be older and preferably married.  If she had progressed to the stage of courtship in which she walked out with a gentleman, they always walked apart. A gentleman could offer his hand over rough spots, the only contact he was allowed with a woman who was not his fiancée.  Proper women never rode alone in a closed carriage with a man who wasn't a relative.  She would never call upon an unmarried gentleman at his place of residence.  She couldn't receive a man at home if she was alone. Another family member had to be present in the room.  A gentlewoman never looked back after anyone in the street, or turned to stare at others at church, the opera, etc.  No impure conversations were held in front of single women.  No sexual contact was allowed before marriage. Innocence was demanded by men from girls in his class, and most especially from his future wife.  Intelligence was not encouraged, nor was any interest in politics.
	A woman was allowed some liberties, however. She could flirt with her fan, as this behavior was within the protocol of accepted behavior. Here are what different signals meant: Fan fast--I am independent Fan slow--I am engaged Fan with right hand in front of face--Come on Fan with left hand in front of face--Leave me Fan open and shut--Kiss me Fan open wide--Love Fan half open--Friendship Fan shut--Hate Fan swinging--Can I see you home?
EMMA WAS 21 and UNMARRIED	NEGOTIATIONS By the end of the season, many relationships had been cemented, with an eye to the future. Thus began the serious chase, with marriage the ultimate goal. There was a camaraderie among upper class women. They advised, gossiped, told secrets and wrote passionate letters to each other. They were the chief arrangers of social affairs, but woe to anyone who made an enemy of them, as they could be ostracized forever from society. When a young girl was on good terms with these social select, she could expect help in making an advantageous match. There were rules to follow even here, however. Until 1823, the legal age in England for marriage was 21 years--for men and women. After 1823, a male could marry as young as fourteen without parental consent, and a girl at 12. Most girls, however, married between the ages of 18 and 23, especially in the upper classes. It was also illegal to marry a deceased wife's sister. But you could marry first cousins. The attitude toward first-cousin marriages changed by the end of the century, however. Marriage was encouraged only within one's class. To aspire higher, one was considered an upstart. To marry someone of lesser social standing was considered marrying beneath oneself. In upper class marriages, the wife often brought with a generous dowry--an enticement for marriage. The financial aspects of a marriage were openly discussed, much like the pre-nuptial agreements of today. Both parties disclosed their fortunes. A man had to prove his worth in keeping his wife in the level of life she was accustomed. A woman, often looking to improve her social standing, used a dowry as a lure. To protect an heiress, her family could set up an estate trust for her, which would be controlled by Chancery Court. The woman would have access to this property if she applied, but her husband could not touch it. An unmarried woman of 21 could inherit and administer her own property. Even her father had no power over it. Once she married, however, all possessions reverted to her husband. She couldn't even make a will for her personal property, while a husband could will his wife's property to his illegitimate children. Therefore, marriage, although her aim in life, had to be very carefully contemplated. Because many marriages were considered a business deal, few started with love. Although as the years passed, many couples grew tolerably fond of each other, often resulting in a bond almost as deep as love.
	THE ENGAGEMENT  The bank accounts have been studied, the ancestral lineages inspected, and political connections explored. If both parties passed muster, the next step toward marriage was the engagement. If it had not already been done, the man was introduced to girl's parents and her peer group. Permission for asking for the daughter's hand in marriage had to be granted by bride's father, although the gentleman could wait until he had his bride's consent before asking. A proposal was best made in person, with clear, distinct language, so the girl might not misunderstand the gentleman's intent. If he could not bring himself to propose in person, he could do so in writing. A girl did not have to accept her first proposal. She could play coy.  A short time was allowed to elapse before an engagement was announced, except to the most intimate friends/family of both parties. This was a precaution, lest the engagement be ended by either party. The mother hosted a dinner party once the engagement was announced. The purpose of this dinner was to introduce the fiancé to his bride's family. A more formal evening party may have followed. Once the groom had been introduced to bride's family, the bride was then introduced to his. This could be a very trying time for a young girl, as a mother-in-law's eye was often critical. After the engagement was announced to the family, the bride wrote to the rest of her friends with the news. At the same time, her mother wrote to the elders of these families. Engagements lasted from six months to two years depending upon ages and circumstances. The engagement was finalized with a ring. The size and stone depended upon the groom's finances. They could be in the form of a love knot, a simple band, or a band embedded with different stones whose initials spelled out a name or word of love. For example, the Prince of Wales, Albert Edward, gave Princess Alexandra of Denmark a 'gypsy ring' with the stones Beryl, Emerald, Ruby, Turquoise, Iacynth and Emerald, to spell out his nickname, "Bertie." A woman could, in turn, give her fiancé a ring, although it was not required. The couple could become a bit more intimate once they were engaged. They could stroll out alone, hold hands in public, and take unchaperoned rides. A hand around the waist, a chaste kiss, a pressing of the hand, were allowed. They could also visit alone behind closed doors. But they had to be dutifully separated by nightfall, or overnight at country parties. Thus, if the engagement was broken, the girl suffered the consequences of a ruined reputation because of her previous behavior. An honorable man never broke an engagement, so as not to cause the girl discomfiture. Unfortunately, some engagements did end, with resulting embarrassment and possibly even legal action should it be terminated by one party over the protest of the other. A "breach of promise" suit might result in one party paying for the other's damages, such as cost of a wedding gown and trousseau. This was one reason news of the betrothal was often kept from family and friends. It wasn't considered official, and therefore would not hold up in court. Women were even cautioned as to what they wrote in letters and journals, should the case go that far. As callous as all this sounds, there was true romance and love during the Victorian era. Why else did samples of heart-rending verses and flowery cards last through the ages for us to ponder and dream over? Perhaps it was these very constraints and rules that made true love all the more special to those who found it. For lucky were the ones who found love within their class, and within the approval of their families. Yet even those marriages that did not begin with love, often ended in a deep, endearing attachment that would be envied by many.

Jane Austen's social background

Jane Austen’s Social Background:

Jane Austen: The gentleman’s daughter
Jane Austen and her family had their place in the gentry within the social class system in England. The gentry were the growing middle class which included the lower nobility and the “bourgeoisie” (land owning middle class).[1]

The “gentry” was a wide class with people with different fortunes in it. There were some with a vast wealth and others “at the lower end of the class”.[2]

According to the word gentry, the men in this class were called gentlemen. A man who owned at least 300 acres of property and lived off the money, he earned from this lands was allowed to call himself a gentleman.[3]

Nevertheless, new groups of gentlemen who did not own land rose up to the “long-established and highly respectable class”.[4]In the first place these were the businessmen, but also Anglican clergymen and army and navy officers.[5]

Behaviour was deemed to be a component of everyone`s personality. Good behaviour included in addition to the right manners, specific forms of address. Children had to say “Madam” and “Sir” to their parents and relatives employed “Miss”, “Mrs” and “Mr” to address someone in their family. In the majority of cases married couples used their last names.[6]

Fellow human beings rated the manners of others, so it was very important to use the right manners. In particular, women had to be accomplished. But mostly they just could be cultivated in certain elements. The manners included an interest in the arts (music, drawing, dancing), polite form of uses, expression in one`s face and eyes, acceptable clothing, elegance in one`s movements, gestures and attitudes. Besides this, they had to have the ability to behave correctly in every circle.[7]

The inheritance law of this time was simple. If the father died, the eldest son or the next male kinsman got everything. The other male children only had a few options besides handcraft, if they wanted to do something without being burdened by work. They could follow God`s call and become a clergyman. But if the church was not right for them, the army or the navy were also acceptable choices. If nothing of this enthused them, they went to Oxford or Cambridge and studied law.[8]

In contrast women did not have so many choices. The most common option was to marry. The other one was to stay with her parents or go to another family as a lady`s companion or a governess.[9]

At this time Protestantism was the official religion in England and landowners were dealing with the associated livings.

A clergyman did not have to study theology, because most got their living through relations or they inherited it. The universities of Oxford and Cambridge were not known as good ones, because the university education was not the focal point of a student`s life. Furthermore, dealings and connections were more helpful for the qualification for the function of a reverent than academic studies. Pastors decided for themselves whether they wanted to limit their lives for ethical reasons, because there were no restrictions.[10]

Each living was owned by a patron, who sold the living. The price depended on the tithes from the religious community and the glebe, which belonged to the living. The glebe was often under lease. If the patron did not want a Pastor`s son to get the living, the patron could sell it. Dealing with these livings was unconventional, but normal at this time.[11]

Source: http://www.janeausten.co.uk/the-influence-of-jane-austens-social-background-on-two-of-her-novels/

Checking in on Vol. I

Hi
I hope the reading is going well. By now you have probably noticed that the text is not that easy to read. There are many cultural aspects that you need to be aware of in order to understand what is going on.
First of all, the plot is secondary. You go through it quickly. What is important is the language, the way the writer is writing the story, and whether or not you feel she is an objective narrator or not.

To figure this out you need to try to draw out when you read a sentence:
 Who is talking:
1) the narrator (therefore it is neutral and objective, also called "omniscient" or all-knowing)
2) the protagonist (the main character, which in this case is Emma)
3) someone else who is important such as Mr. George Knightley.

Sometimes in this novel it is not clear whose perspective we are getting. Emma is often blinded to the truth about other people. Why is that?
Read the first paragraphs of the book. I will underline what is important to notice. I will highlight in green points from the text and in red put my comments. This is how you need to read the text: with lots of attention at what is being said, by who, and what is the deeper meaning. Sometimes there won't be a deeper meaning, but try to catch when there is. This way we learn how to study a work of literature.

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. (HERE YOU SEE THAT SHE HAS EVERYTHING AND NEVER HAS HAD REAL PROBLEMS AND ALSO THAT SHE IS QUITE YOUNG)

She was the youngest of the two daughters of a most affectionate, indulgent (This word means he spoils her. What consequences are there for her if she is spoiled?)father; and had, in consequence of her sister's marriage, been mistress of his house from a very early period(SHE IS IN CHARGE OF A HOUSEHOLD THAT IS VERY WEALTHY AT A VERY YOUNG AGE). 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. (HERE WE SEE HOW SPOILED SHE IS EVEN BY HER GOVERNESS WHO IS SUPPOSED TO TEACH HER AND DISCIPLINE HER. INSTEAD SHE BECOMES HER FRIEND AND LET'S HER DO WHATEVER SHE WANTS AND DOESN'T REALLY STUDY)

The real evils (NOTICE THIS WORD CHOICE: EVILS: THE AUTHOR IS ALREADY TELLING US WHAT TO LOOK OUT FOR), 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 (THE OMNISCIENT NARRATOR IS WARNING US THAT EMMA HAS TWO PROBLEMS: 1) SHE DOES WHATEVER SHE WANTS AND 2) SHE IS TOO PROUD/ARROGANT); 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. (WE CAN'T SEE THE DANGERS YET, BUT THEY WILL SURELY COME, WARNS THE NARRATOR)

Questions for Volume 1 (first 18 chapters of Emma). Due on March 15th on KungFu writing

Emma questions: Volume 1, chapters 1-9

1.     In chapter one the narrator states, “The Woodhouses were first in consequence there. All looked up to them”. Is this statement completely true? Are there indications that not everyone in the community shares this point of view? Examples

2.     What is the source of Emma’s sense of superiority? Is it merited?

3.     How does Mr. Knightley rate Emma’s abilities? What is the danger of “imagination”?

4.     What are Emma’s professed reasons for remaining single? Are there subconscious motives? What is her relationship with Mr. Knightlly?

5.     Why does Emma take on the education of Harriet Smith? What is the basis of their friendship? What is the danger to Emma in such a relationship, and what is the danger to Harriet?

Emma Vol. I, chapters 9-18: I just added some clarifications in red.

1.     What does Emma learn from her miscalculation of Elton’s affections for Harriet? Does she express publicly her error? How do you judge her behaviour after this incident?











2.     What is Emma’s relationship with her father? Is there an explanation for why Emma has so much patience with her father and so little with Miss Bates? REMEMBER MISS BATES IS NOT HER RELATIVE. How do you judge her behaviour to each?











3.     Emma includes more gradations in social/economic class than previous novels YOU PROBABLY DON*T KNOW THE OTHER NOVELS BUT JUST DISCUSS CLASS IN RELATION TO SPECIFIC CHARACTERS. WHO IS IN THE HIGHEST CLASS? Go from top to bottom. What are some examples? What role does class play in this novel?










i.e. What does Emma think about class? What is the dilemma about Harriet?

4.     Analyze Emma’s relationship with Miss Bates. How much of her impatience with her is warranted? What motives might underlie Emma’s intolerance? Contrast Miss Bates with Emma Woodhouse. Consider their ages and appearance and their social and economic rank in the community. How do you account for Miss Bates’s popularity?










5.     How is Emma unprepared for matrimony (HER OWN MARRIAGE: What about her makes her not ready to be married at that point) at the novel’s opening?