Final Thoughts on Emma After the Seminars

This week, we had two seminars on the novel Emma, and we discussed several important thematic concepts regarding the novel and the characters in it. Several interesting topics we covered include human fallibility, the role of society, Mr. Woodhouse as a villain and Mr. Knightley as a hero, and the conclusion of Emma. There were a lot of points that people made that were interesting regarding Emma’s character and her role in society during that time (Regency era). One important question I am considering is whether society influences Emma for the better or for the worst, because I think that is one of the key themes in this novel that unlocks a lot of Austen’s purpose.

Another question relative to the story is does Emma successfully learn from her mistakes and improve herself as an individual with the help of Mr. Knightley, or does she simply learn to tame her imagination with his restraint of logic?

I still have many more questions about the novel, like why Austen decides to end the novel on such a bittersweet note. I want to feel happy for Emma, but at the same time, I’m not sure if marriage is ultimately the best decision for her. Is Mr. Knightley indeed the perfect match? Or will he replace Mr. Woodhouse as Emma’s new prominent “father figure”? Will Emma’s relationship with Mr. Woodhouse—her not-so-manly father—change after her marriage with Knightley? Also, what is Austen’s purpose in including Mrs. Elton’s opinion of Emma’s wedding at the end? Is this all part of Austen’s satire? In the article I read for class, “Emma: Jane Austen’s Errant Heroine” it mentions Emma as an independent woman whose pride does not diminish at the end, despite her marriage to Mr. Knightley. Is this true? Does Emma still remain emotionally independent after marrying Mr. Knightley?

In addition, I find it very interesting that Mr. Woodhouse is often perceived as an evil character; one who controls and manipulates Emma. While reading the novel, I was completely oblivious to the fact that Mr. Woodhouse’s influence could be perceived as selfish and slightly cruel. Instead, I attributed his egocentricism to his high social status and position. So it is really an environment vs. personal disposition type of situation. However, after the seminar, I now see that Mr. Woodhouse isn’t as minor of a character as I thought he was. He is actually quite devious in a subtle way, but I still thing Emma’s is her own biggest enemy/obstacle. I believe Emma has to overcome her attachment to her fantasies and her tendency to resist society’s influence in order to grow and develop into a mature young woman. I think that is why Austen ties up all the loose ends of the novel. The story comes full circle in the end. In the beginning, everything was quite orderly, undisturbed, and blissful in the small town of Highbury, but then, things start to get chaotic as Emma begins to meddle in the business of others. The bulk of the novel consists of commotions, misunderstandings, and mixed emotions that emerge in many of the characters. It is not until the end, when Emma resolves to conform to society’s values by marrying Mr. Knightley that everything returns to normal. After all the matches in the novel get paired off, a calm, happy, and hopeful feeling settles over everyone at Highbury. I think it is very interesting that Austen depicts society in this sense, because I think one of Austen's points is that we are all susceptible to our own mistakes, and that we must be open to change or else we can never grow for the better.

 

Volume III of Emma

Thus far in Volume III of Emma, I am sensing a great change in several characters. For one, Emma does not come across as naïve as she once was in Volume I, for instance. However, one thing that still bothers me is the fact that she is so obsessive with Frank Churchill, when he is clearly not the man she perceives him to be. In fact, I think Frank is secretly a cynical and scheming trickster who is just trying to mislead Emma by acting like a decent and good-mannered gentleman. Evidently, Emma has grown a great deal, as she now exhibits signs of a cautious and observant young woman, rather than the wildly imaginative girl she used to be.

In Chapter 37, the commencement of Volume III reiterates the fact that Emma has greatly matured by revealing her honest feelings towards Frank in a very logical and realistic manner. Unlike previously, when Emma flattered herself by believing that Frank was madly in love with her, she now calmly admits that “it was not for herself she was feeling at all apprehensive or embarrassed—it was for him” (299). Thus, through Emma’s point of view, Austen exposes Emma as a vastly dynamic character. There is a great change in her perspective and thoughts, which makes me wonder…has Knightley finally gotten through to her? Before, Emma only expressed her affection for Frank because he gave her attention and always complimented her on trivial things. However, now Emma realizes that “her own attachment had really subsided into a mere nothing,” and that her feelings for Frank were really superfluous and meaningless. Thus, even on the first page of Volume III, we see a huge transformation in Emma and her character, as her imagination that once clouded her insight is slowly beginning to dissipate. Also, the ball in Chapter 38 is also a subtle indication of Emma’s change in personality. Austen depicts Emma as more attentive and appreciative of others rather than her own status and beauty. Emma’s growth is contrasted directly with Mrs. Elton’s self-centeredness as she “was evidently wanting to be complimented herself” after “a good many compliments to Jane on her dress and look” (307). At the end of the chapter, Emma and Mr. Knightley exchange a mutual appreciation of each other’s opinions, as they both admit their wrong preconceptions about Mr. Elton and Harriet. Emma’s civil acceptance of her own mistakes is also an indication of her growth as a polite young lady, since she no longer insists that only her opinion is the correct one.

Moreover, Emma’s advice to Harriet in Chapter 41 is also significant to the novel and the bildungsroman that Austen so cleverly develops. When Harriet divulges the truth about her little remembrances of Mr. Elton to Emma, Emma is very wise to carefully advise the meek and unassuming Harriet that she ought to “consider what [she is] about” and to “check [her] feelings while [she] can: at any rate [to not] let them carry [her] far” (324), which is extremely valuable advise if Harriet chooses to take it. Overall, I am impressed by how mature Emma is and how much she has grown since Volume I. Although Emma has grown quite a lot, she still possesses qualities of an unassuming girl living in a bubble. This is because when Harriet tells Emma that she has a crush on someone, Emma automatically assumes it is Frank Churchill, when it is really Mr. Knightley. Thus, we can conclude that Emma’s imagination is not completely inhibiting her perception of reality, but it is still a slightly encumbering factor in her character’s beliefs.

Shakespeare's Sonnet 83

This week, my group and I are examining one of Shakespeare’s sonnets earlier sonnets, which is within the set of sonnets that Shakespeare wrote towards a mysterious and anonymous rival poet who also directed his sonnets to an unidentified young man. Our group chose Sonnet 83, which is quite an honest and direct expression of the speaker’s thoughts and feelings towards “you,” which we can assume to be the nameless opponent poet. It is without hesitation that this sonnet contains four quatrains and one couplet, and that the rhyme scheme follows the pattern ABABCDCDEFEFGG, which is expected of Shakespeare because it is his signature way of writing. Moreover, Shakespeare uses paint as a medium to depict the inexplicable beauty of the young man. In the sonnet’s first quatrain, the speaker seems to be flattering the young man by admitting that the young man’s significance cannot be fathomed or articulated into words, because his worth is much more than any poet could attempt to convey. The speaker expresses this notion by saying that “you did exceed / The barren tender of a poet’s debt” (3-4), which is a direct statement to the young man, whom the speaker seems to be quite fond of. In the second quatrain, the speaker reveals his profound admiration for this young lad when he confesses to intentionally worsening his writing in hopes that “a modern quill doth come too short” (7), so that the young man can prove himself more worthy than the poet’s incompetent and inadequate writing. Thus, the speaker’s progression in thought is evident when he becomes distracted by the youthful man’s worth that “in [him] doth grow” (8). In the third quatrain, the speaker shifts his train of thought as an acknowledgment of his silence, which despite the young man’s disapproval, the speaker finds it to be “most [his] glory, being dumb” (10), if it means that his ignorance will preserve the young man’s charm. Although the youth has objected to the poet’s silence, the poet is still adamant that he would rather “impair not beauty [by] being mute” (11), unlike the rival poet, who “would give life and bring a tomb” (12). In the last lines of the third quatrain, the speaker finally mentions the rival poet, which the speaker scorns and subtly condemns for spoiling the youth’s beauty by shamelessly writing about him. In this blunt statement, the poet is harshly contrasting his superior writing, to the rhetorical writing of his rival, who is (according to the poet), ruining the young man’s loveliness. There are some hints of jealousy or competition between the two poets in this line, which underlines the tension that exists between the two poets. This is further extended in the couplet, when the speaker’s sentiments change again as he declares that there is “more life in one of your fair eyes / Than both your poets can in praise devise” (13-14). In this final pair of lines, the speaker concludes that no poet, no matter how skilled or talented, can even come close to capturing the true beauty of the young man, because it is much greater than what any two poets could ever express.

 

Emma's Undeniable Weakness in Volume 1

Our first seminar on Emma was really quite interesting and got me thinking more in depth about Emma as a complex character and the unique dynamics between all of the characters of Highbury. Overall, I am surprised by how enjoyable this novel is because Austen’s writing style is very clever and amusing, which is always a good thing. I have also been pondering Austen’s comment about how Emma is a “heroine whom no one but myself will much like.” At first I was only somewhat perplexed by her views, but now that I have read Volume 1 of the novel, I can see why Austen would make such a blunt statement regarding the main character of her book.

Emma is undeniably a very intelligent and bright young woman, but her character possesses multiple layers that slowly unravel as she encounters new obstacles and dilemmas in her life. Overall, I believe Emma grows tremendously from the beginning of Volume 1 to the end, in respect to her opinions and attitude. At first, Austen reveals Emma’s spoiled and selfish nature, which clearly emphasizes Emma’s natural tendency to get her way. It almost seems as though Emma despises negative changes and innately resists them in any manner that she can. For instance, Miss Taylor’s departure is greatly disturbing to Emma, who laments the fact that she has lost her closest companion, rather than relish in the notion that Miss Taylor is finally content after finding the love of her life (which is what most people would be happy about…except Emma of course). Thus, I think that is why Emma is so compelled to take Harriet under her wing, because she does not want to be lonely, and she must be entertained (because after all, isn’t that what upper class society is about?).

Harriet is the perfect target for Emma, since Emma immediately deems her “free from conceit; only desiring to be guided by any one she looked up to” (23), which is a perfect indication that she is in desperate need of Emma’s help and guidance…or so Emma thinks. Essentially, Emma views Harriet as a project almost, something that she can involve herself in in order to flaunt her own benevolence and generosity for the sake of her appearance. However, Emma’s true intentions in befriending Harriet remain somewhat obscure, as Austen once again manifests the complexity and depth of Emma’s character that is not always immediately apparent and clear. Austen renders Emma’s obscure motives and intentions as even more complicated when Emma assumes that “Harriet would be loved as one to whom she could be useful” since for “Mrs. Weston there was nothing to be done; for Harriet every thing” (23). Throughout Volume 1, I was very confused by Emma’s questionable intentions…are they pure? Also, does Emma truly value her friendship with Harriet or does she just consider it another perk of exerting her influence and control on a helpless being? Also, would Emma still seek to improve to Harriet if Harriet’s parentage clearly indicated that she belonged to England’s lower class society? Although I am not certain as to whether Emma is oblivious to her flaws and the impact she has on Harriet in manipulating her, at the end of Volume 1, it is clear that she has gained some insight on her imperfections (even though it took a whole Volume for her to realize this). After Emma’s brilliant matchmaking plan is ruined, and Mr. Elton confesses that he fancies Emma not Harriet, Emma is at first disturbed by her failure. However, she is finally “obliged, in common honesty, to stop and admit, that her own behavior to [Mr. Elton] had been so complaisant and obliging” and that “it was wrong, to take so active a part in bringing any two people together” (128). Therefore, we clearly see Emma transform from being adamant and headstrong about her infallible matchmaking skills, to a humble and understanding girl who is finally no longer blinded by her enormous mistake.

Impressions of Emma in Volume 1

In the novel Emma by Jane Austen, Emma Woodhouse is an intriguing young girl who seems to be far too spoiled and concerned with the affairs of other people’s lives in the village of Highbury. In the first chapter, Austen promptly warns that Emma’s most detrimental limitation in her character is the fact that she has “rather too much of her own way, and a disposition to think a little too well of herself” (3), which is essentially what we continue to see throughout Volume 1 of the novel. My first impression of Emma is that she is a self-assured, meddlesome, confident, matchmaking, perceptive, and sharp young English girl who has never faced any misfortunes in her life, despite the fact that her mother has died.

 

Emma’s prying tendencies manifest themselves in chapter 3, when we are introduced to Harriet Smith, “a short, plump, and fair [girl], with a fine bloom, blue eyes, light hair…and a look of great sweetness” (20). Emma is immediately taken by Harriet’s gentility and kindness, but more importantly, she is already contemplating a potential suitor for Harriet, a fitting gentleman whom she could marry. Very rapidly, Emma’s inclination to meddle in other people’s lives becomes evident, as she eagerly decides that Mr. Elton and Harriet “would be an excellent match; and only too palpably desirable, natural and probable, for her to have much merit in planning it” (31). This excerpt clearly exemplifies Emma’s somewhat selfish motives for encouraging and advocating this couple, as Austen emphasizes Emma’s profound concern for the originality of her match, and whether it has been thought of before. Thus, in the next few chapters, Emma makes it her number one priority to ensure that Mr. Elton clearly professes his fondness for Harriet, before Robert Martin, a gentleman who Emma considers to be a “very inferior creature” (29), even has a chance at expressing his liking. Emma purposefully degrades Mr. Martin in front of Harriet, and not-so-subtly belittles his suitability by emphasizing his inadequate social standing, which is clearly inappropriate for a woman as beautiful as Harriet.

 

Thus far, I think George Knightley is epitomizes the voice of reason, since he is the only one who has the audacity and nerve to disagree with Emma’s behavior. He a sensible and rational man who expresses his concern regarding the new friendship between Harriet and Emma, and how Harriet is the “very worst sort of companion that Emma could possibly have” because she “looks upon Emma as knowing everything” (35), which is clearly a negative thing because the last thing Emma needs is for someone as ignorant and inexperienced as Harriet to flatter Emma and encourage her meddling attitude. In chapter 8, he is the only one who tries to talk some sense into Emma and to make it clear to her that her “infatuation about [Harriet] blinds [her]” and that Harriet’s social rank is no higher than Mr. Martin’s enough to be a conflicting factor in the union of the two (56). However, Emma is unyielding and stubborn, as she refuses to listen to Mr. Knightley’s realistic and practical explanation, which could be detrimental later on.

 

Overall, I am enjoying the depth of Emma’s seemingly snobbish and proud character, and I am eager to see how Emma’s behavioral qualities will affect her and other characters throughout the novel.

The Enigma of Hamlet's Character

In Shakespeare’s play Hamlet, all of the characters possess great influence over Hamlet and his mentality in grand scheme of things. However, there is far more perplexity and mystery regarding Hamlet’s character because his soul is so complex and his mentality is often deeply inscrutable during the course of the play. Hamlet’s multifaceted character slowly unravels from Act to Act, but as these multiple dimensions to his character are slowly exposed, it only yields more questions instead of answers. It is very difficult to precisely conceive Hamlet’s real nature and individuality because it is often masked by deception, facades, and feigned sanity (or so we are led to believe). Nonetheless, it is fascinating to examine Hamlet’s dark, cynical, sarcastic, insecure, and clever character from various perspectives that can all be rendered true in solely based on interpretation and scrutiny.

At first, Hamlet is completely dejected and woeful after he learns of his father’s untimely death. Even from his very first words in the play, when he says “a little more than kin and less than kind” (1.2.67), Shakespeare intentionally emphasizes Hamlet’s isolation and forlorn character by making his first line an aside. Immediately, we are presented with Hamlet’s deep-rooted seclusion that continually manifests itself throughout the play. Additionally, Hamlet expresses his desolate sentiments towards his mother, clarifying that “‘tis not alone [his] inky cloak…that can denote [him] truly. These indeed “seem,” / For they are actions that a man might play” (1.2.80-87). These powerful lines profoundly encompass the essence of Hamlet’s character in a nutshell. The recurring notions of acting versus being, appearance versus reality, and “is-ing” versus seeming are all portrayed within some of Hamlet’s first words in the entire play. This excerpt also exemplifies Hamlet’s keen and astute understanding of the world around him, as he always relies on insight to perpetrate the truth.

Moreover, Hamlet is highly adept at manipulating and adjusting language in such a witty and intricate manner that is practically incomprehensible by any other less-intelligent character. This aspect of Hamlet’s personality is central to his character’s progression throughout the play, as he once again, further distances himself from others due to his proficient and adept understanding of words, and his remarkably rich vocabulary. However, his vast understanding of language could also be the source of his demise, since Hamlet constantly feels constrained by his own decisiveness and judgment that essentially hinder him from committing the rightful deed of avenging his father. Although Hamlet’s wits are a defense mechanism, they are also an encumbrance and a nuisance to his burning rage and ambitions. His intelligence and essentially his mind are ironically a burden to his soul, because Hamlet is innately compelled to ponder every situation in excess, which causes him to fall into a state of stagnation and immobility in regards to his intended actions.

Similarly, Hamlet can be considered an existentialist, as he believes that only actions have the ability to create man (and man has no essence), but he perpetually questions his existence and purpose in life. This is an especially prevalent concept in Hamlet’s “to be or not to be” speech, in which he truly ruminates and contemplates the core of existentialism and what it means “to be.” This speech is by far, Hamlet’s most pivotal and meaningful soliloquys in the whole play, and his question of human existence truly embodies the whole essence of his character. Hamlet is conflicted in his thoughts as he questions “To be or not to be—that is the question: / Whether ‘tis nobler in the mind to suffer…Or to take arms against a sea of troubles” (3.1.64-67), which makes me wonder, is this Hamlet’s tragic flaw? Or is this Hamlet’s madness emerging? Also, is Hamlet in fact a hero or a coward in the end?  

Final Thoughts on Memoirs of a Geisha

I’ve finished my outside reading book, Memoirs of a Geisha, for about a week now, but I wanted to reflect on the quality of Golden’s work and what I thought about the novel. Overall, my sentiments towards the end of the novel are quite conflicting. Even though I wasn’t necessarily disappointed with the ending, I wasn’t quite satisfied either. I’m not in accord with the way Golden decided to portray Sayuri’s decision to end things with Nobu, which was completely unexpected.

I guess I found it difficult to put myself in Sayuri’s shoes, because she is so in love with the Chairman that she is desperate to do anything, at whatever cost (such as pretending to sleep with the minister only to infuriate Nobu), to prevent Nobu from declaring herself as her danna. I understand Sayuri’s emotionally-torn state, but I kind empathize with Nobu because he is a man who is hard to please, yet he professes his love to Sayuri (in an extremely subtle way) despite his seemingly cold and heartless character. Nobu explains, with difficulty, to Sayuri that he doesn’t “much like geisha…But [he’s] always felt that [Sayuri] isn’t exactly like all the others” (Golden 386), which for Nobu, is a big deal, considering how unemotional and unexpressive he usually is. At the same time, however, I understand what Sayuri feels. The Chairman is the only man who showed her compassion and tenderness before she was a geisha. He’s the only man who truly sees the beauty in her soul, which is an extremely unique and rare quality to find in someone. Thus, I understand why Sayuri would feel such an urge to be with the Chairman; after all she’s been through, she deserves to be happy with a man who showed her kindness when her world seemed to be deprived of any scrap of joy or positivity.

The conversation between the Chairman and Sayuri in Chapter 34 is really touching and wonderful, as Sayuri confesses to the Chairman that everything she has done has been “because of [her] feelings for the Chairman. Every step [she has] taken in [her] life since [she] was a child in Gion, has been in the hope of bringing [herself] closer to the [Chairman]” (416), which embodies the whole scope of Sayuri’s journey throughout the novel. The Chairman was there before her transition from a caterpillar to a butterfly, he is the one who led her to her destiny, not Nobu, not the General, and certainly not “Dr. Crabs.” It was always the Chairman, even from the beginning, so much so that Sayuri felt “such a longing to turn to the Chairman and ask if he recalled a day several years ago when he’d shown kindness to a young girl” (205), the very first time she sees him at the sumo wrestling match. The fact that it took years for Sayuri to work up the courage to let the Chairman know her true feelings demonstrates the depth of her love and passion for the man, since if [she were] to have a rescuer, [she] wanted it to be the Chairman and no one else” (208). This quote also emphasizes the aspect of the damsel in distress archetype that we repeatedly see emerge in Sayuri’s character throughout the novel. However, in the end, Sayuri breaks free from this confining role (when she quits being a geisha) and the burden of her “destiny,” by becoming the Chairman’s mistress, and ultimately fulfilling her goal to self-discovery and independence.