“I will keep my ill-humour to myself. I have a very sincere interest in Emma . . . There is an anxiety, a curiosity in what one feels for Emma. I wonder what will become of her!” Mr. Knightley, Emma, Chapter 5
For me, reading Jane Austen’s Emma is a delight. However, not all readers have been in agreement with me over the years including Jane Austen herself who warned her family before publication “I am going to take a heroine whom no-one but myself will much like.” She was, of course, making fun of herself in her own satirical way; – her critics, on the other hand, were quite serious. When the book was published in 1815, Austen sent a copy to her contemporary author Maria Edgeworth who gave up reading the novel after the first volume, passing it on to a friend and complaining, “There is no story in it.” Others had mixed feelings offering both praise and censure for its focus on the ordinary details of a few families in a country village. One important advocate of Emma was Sir Walter Scott, whose essay published in the Quarterly Review of 1815 represents the most important criticism of Austen’s writing during her lifetime. Even though the review was published anonymously, she must have been pleased when the reviewer heralded her Emma as a ‘new style of novel’ designed to ‘suit modern times’. Heady stuff to be sure. When it was later learned that Scott had contributed the review, it would place Jane Austen in a whole other league of writers.
Emma can be enjoyed on different levels. For pure humor and witty dialogue, it may reign as Austen’s supreme triumph. Just Google quotes from Emma and you might agree that it has the best bon mots of any of her novels. Modern critics claim it as her masterpiece, and I do not doubt it. Pride and Prejudice may be the most beloved and well know of her works, but Emma represents Austen at the height of her writing skill and power as a storyteller. Like some of Austen’s contemporaries, the modern reader might find challenges in its minutiae and supposed lack of story. Not to worry. There are several annotated available to assist in understanding Jane Austen’s subtle and often witty dialogue, her unique characterizations, and help place the novel in historical context.
One source to consider is the new 2008 edition of Emma, by Oxford World’s Classics. Recently revised in 2003, this re-issue contains the same supplemental and textual material with a newly designed cover. For a reader seeking a medium level of support to help them along in their understanding, you will be happy to find a thoughtful 23-page introduction by Associate Professor of English and Women’s Studies Adela Pinch of the University of Michigan. The essay contains a brief introduction, and segments on Shopping and Suburbia, Narrative Voices: Gossip and the Individual, The Politics of Knowledge, and Emma: Much Ado About Nothing?. Her emphasis is on understanding Austen’s choice of writing about the ordinary and extraordinary aspects of the lives of its heroine Emma Woodhouse and her circle of family and friends in Highbury, a small English village in which she sets about to match make for all of its singletons, and blundering hilariously along the way. I particularly appreciated Prof. Pinch’s positive comments throughout the essay.
“Austen makes voices stick in the mind through her use of free indirect discourse, which makes character’s voice seem indelible, capable of soaking into other beings. But she also uses the same technique for representing thought. Her cultivation of this mode of representing her heroines’ minds has made her novels crucial to the history of the English novel, markers of a movement when the novel as a literary genre perfects its inward turn, and begins to claim human psychology as its territory. Above all it creates the feeling of intimacy with her heroines that many readers prize.” Page xvii-xviii
If I may be so bold and interject as the everyman Austen reader for a moment, parts of this essay are scholarly and touch on areas beyond my immediate understanding, especially when she delves into the philosophical and psychological pedantry. For the most part, Prof. Pinch’s essay is written in accessible language and is reverent and admiring to the author and the heroine. I found this outlook refreshing since the heroine Emma, and the novel Emma has received some criticisms for their shortcomings over the centuries. The novel is about so much more than the “no story” that Maria Edgeworth hastily condemned it to be. I especially adore Emma’s little friend Harriet Smith and think her much-maligned in the recent movie adaptations, and well – can there ever be enough praise bestowed upon Mrs. Elton? She is a comedic genius and worthy of a nomination to the literary comedy hall of fame.
Professor Pinch has also supplied the helpful explanatory notes throughout the text which are numbered on the page allowing the reader to refer to the back of the book for an explanation. Honestly, I prefer the notes to be footnoted at the bottom of the page instead of riffling back and forth, but that is a quibble on convenience. The remainder of the supplemental material; Biography of Jane Austen, Note on the Text, Select Bibliography, Chronology of Jane Austen, Appendix A: Rank and Social Status, and Appendix B: Dancing are repeated throughout the other Jane Austen editions in this series and discussed in our previous reviews.
This Oxford edition is a sweet little volume at an incredible price if you are in the market for a medium amount of supplemental material from reputable sources containing an authoritative text edited for the modern reader. If you enjoy matchless wit and irony, unforgettable characters, and a unique story that turns the everyday imaginings of a young Georgian era woman into an extraordinary story filled with a comedy of manners and romance, then take note; – Miss Emma Woodhouse commands you to purchase this book immediately!
4 out of 5 Regency Stars
Read our previous reviews of the Oxford World’s Classics – Jane Austen Collection
Oxford World’s Classics: Emma by Jane Austen, edited by James Kinsley
Oxford University Press, Rev. Ed. (2008)
Trade paperback & eBook (418) pages
Cover image courtesy of Oxford University Press © 2008; text Laurel Ann Nattress © 2008, Austenprose.com