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Posts Tagged ‘Romola Garai’

Emma (Kate Beckinsale) and Mr. Elton (Dominic Rowan) examine her drawings. Emma 1996 A&E

In the early chapters of Jane Austen’s novel, Emma, the reader learns that Emma “will never submit to any thing requiring industry and patience”, and that none of her portraits had ever been finished (although she had made some progress in drawing, considering the little labour she had submitted to). Steadiness and practice had always been wanting, preventing her from becoming an expert in this area.

In Volume 1, Chapter 6, Emma paints a watercolor likeness of Miss Smith in an attempt to draw Mr. Elton closer to Miss Smith. In Mr. Elton’s mind, the painting sessions present him with an opportunity to spend more time with Emma and toady up to her. Recent Emma film adaptations have captured this scene wonderfully, as you can see from the images that accompany Jane Austen’s text.

Did you ever have your likeness taken, Harriet?” said she: “did you ever sit for your picture?”

Harriet was on the point of leaving the room, and only stopt to say, with a very interesting naïveté,

“Oh! dear, no, never.”

No sooner was she out of sight, than Emma exclaimed,

“What an exquisite possession a good picture of her would be! I would give any money for it. I almost long to attempt her likeness myself. You do not know it I dare say, but two or three years ago I had a great passion for taking likenesses, and attempted several of my friends, and was thought to have a tolerable eye in general. But from one cause or another, I gave it up in disgust. But really, I could almost venture, if Harriet would sit to me. It would be such a delight to have her picture!”

Mr. Elton entreats Miss Woodhouse to paint. Emma 1996 A&E

“Let me entreat you,” cried Mr. Elton; “it would indeed be a delight! Let me entreat you, Miss Woodhouse, to exercise so charming a talent in favour of your friend. I know what your drawings are. How could you suppose me ignorant? Is not this room rich in specimens of your landscapes and flowers; and has not Mrs. Weston some inimitable figure-pieces in her drawing-room, at Randalls?”

Yes, good man!—thought Emma—but what has all that to do with taking likenesses? You know nothing of drawing. Don’t pretend to be in raptures about mine. Keep your raptures for Harriet’s face. “Well, if you give me such kind encouragement, Mr. Elton, I believe I shall try what I can do. Harriet’s features are very delicate, which makes a likeness difficult; and yet there is a peculiarity in the shape of the eye and the lines about the mouth which one ought to catch.”

“Exactly so—The shape of the eye and the lines about the mouth—I have not a doubt of your success. Pray, pray attempt it. As you will do it, it will indeed, to use your own words, be an exquisite possession.”

“But I am afraid, Mr. Elton, Harriet will not like to sit. She thinks so little of her own beauty. Did not you observe her manner of answering me? How completely it meant, ‘why should my picture be drawn?'”

Mr. Elton (Blake Ritson) can envision Emma (Romola Garai) painting a portrait of Harriet (Louis Dylan). Emma 2009

“Oh! yes, I observed it, I assure you. It was not lost on me. But still I cannot imagine she would not be persuaded.”

Harriet was soon back again, and the proposal almost immediately made; and she had no scruples which could stand many minutes against the earnest pressing of both the others. Emma wished to go to work directly, and therefore produced the portfolio containing her various attempts at portraits, for not one of them had ever been finished, that they might decide together on the best size for Harriet. Her many beginnings were displayed. Miniatures, half-lengths, whole-lengths, pencil, crayon, and water-colours had been all tried in turn. She had always wanted to do everything, and had made more progress both in drawing and music than many might have done with so little labour as she would ever submit to. She played and sang;—and drew in almost every style; but steadiness had always been wanting; and in nothing had she approached the degree of excellence which she would have been glad to command, and ought not to have failed of. She was not much deceived as to her own skill either as an artist or a musician, but she was not unwilling to have others deceived, or sorry to know her reputation for accomplishment often higher than it deserved.

There was merit in every drawing—in the least finished, perhaps the most; her style was spirited; but had there been much less, or had there been ten times more, the delight and admiration of her two companions would have been the same. They were both in exstasies. A likeness pleases every body; and Miss Woodhouse’s performances must be capital.

Emma's unfinished portraits of her family. Emma 1996 A&E

“No great variety of faces for you,” said Emma. “I had only my own family to study from. There is my father—another of my father—but the idea of sitting for his picture made him so nervous, that I could only take him by stealth; neither of them very like therefore. Mrs. Weston again, and again, and again, you see. Dear Mrs. Weston! always my kindest friend on every occasion. She would sit whenever I asked her. There is my sister; and really quite her own little elegant figure!—and the face not unlike. I should have made a good likeness of her, if she would have sat longer, but she was in such a hurry to have me draw her four children that she would not be quiet. Then, here come all my attempts at three of those four children;—there they are, Henry and John and Bella, from one end of the sheet to the other, and any one of them might do for any one of the rest. She was so eager to have them drawn that I could not refuse; but there is no making children of three or four years old stand still you know; nor can it be very easy to take any likeness of them, beyond the air and complexion, unless they are coarser featured than any of mama’s children ever were. Here is my sketch of the fourth, who was a baby. I took him, as he was sleeping on the sofa, and it is as strong a likeness of his cockade as you would wish to see. He had nestled down his head most conveniently. That’s very like. I am rather proud of little George. The corner of the sofa is very good. Then here is my last,”—unclosing a pretty sketch of a gentleman in small size, whole-length—”my last and my best—my brother, Mr. John Knightley. —This did not want much of being finished, when I put it away in a pet, and vowed I would never take another likeness. I could not help being provoked; for after all my pains, and when I had really made a very good likeness of it—(Mrs. Weston and I were quite agreed in thinking it very like)—only too handsome—too flattering—but that was a fault on the right side—after all this, came poor dear Isabella’s cold approbation of—”Yes, it was a little like—but to be sure it did not do him justice.” We had had a great deal of trouble in persuading him to sit at all. It was made a great favour of; and altogether it was more than I could bear; and so I never would finish it, to have it apologised over as an unfavourable likeness, to every morning visitor in Brunswick-square;—and, as I said, I did then forswear ever drawing anybody again. But for Harriet’s sake, or rather for my own, and as there are no husbands and wives in the case at present, I will break my resolution now.”

Harriet (Louise Dylan) responds to Mr. Elton's interest in her portrait. Emma 1996

Mr. Elton seemed very properly struck and delighted by the idea, and was repeating, “No husbands and wives in the case at present indeed, as you observe. Exactly so. No husbands and wives,” with so interesting a consciousness, that Emma began to consider whether she had not better leave them together at once. But as she wanted to be drawing, the declaration must wait a little longer.

She had soon fixed on the size and sort of portrait. It was to be a whole-length in water-colours, like Mr. John Knightley’s, and was destined, if she could please herself, to hold a very honourable station over the mantelpiece.

Keeping a pose for long for a portrait is difficult. Emma 2009

The sitting began; and Harriet, smiling and blushing, and afraid of not keeping her attitude and countenance, presented a very sweet mixture of youthful expression to the steady eyes of the artist. But there was no doing anything, with Mr. Elton fidgeting behind her and watching every touch. She gave him credit for stationing himself where he might gaze and gaze again without offence; but was really obliged to put an end to it, and request him to place himself elsewhere. It then occurred to her to employ him in reading.

Mr. Elton oversees the process. Emma 1996 A&E

“If he would be so good as to read to them, it would be a kindness indeed! It would amuse away the difficulties of her part, and lessen the irksomeness of Miss Smith’s.”

Mr. Elton was only too happy. Harriet listened, and Emma drew in peace. She must allow him to be still frequently coming to look; any thing less would certainly have been too little in a lover; and he was ready at the smallest intermission of the pencil, to jump up and see the progress, and be charmed.—There was no being displeased with such an encourager, for his admiration made him discern a likeness almost before it was possible. She could not respect his eye, but his love and his complaisance were unexceptionable.

Emma paints Harriet, with Mr. Elton and Mr. Knightley looking on. Emma 1996

The sitting was altogether very satisfactory; she was quite enough pleased with the first day’s sketch to wish to go on. There was no want of likeness, she had been fortunate in the attitude, and as she meant to throw in a little improvement to the figure, to give a little more height, and considerably more elegance, she had great confidence of its being in every way a pretty drawing at last, and of its filling its destined place with credit to them both—a standing memorial of the beauty of one, the skill of the other, and the friendship of both; with as many other agreeable associations as Mr. Elton’s very promising attachment was likely to add.

Harriet was to sit again the next day; and Mr. Elton, just as he ought, entreated for the permission of attending and reading to them again.

Miss Smith (Toni Collette) stands in a neoclassical pose. Emma 1996

“By all means. We shall be most happy to consider you as one of the party.”

The same civilities and courtesies, the same success and satisfaction, took place on the morrow, and accompanied the whole progress of the picture, which was rapid and happy. Every body who saw it was pleased, but Mr. Elton was in continual raptures, and defended it through every criticism.

“Miss Woodhouse has given her friend the only beauty she wanted,”—observed Mrs. Weston to him—not in the least suspecting that she was addressing a lover.—”The expression of the eye is most correct, but Miss Smith has not those eye-brows and eye-lashes. It is the fault of her face that she has them not.”

Mr. Elton applauds the unveiling of Emma's portrait. Emma 2009

“Do you think so?” replied he. “I cannot agree with you. It appears to me a most perfect resemblance in every feature. I never saw such a likeness in my life. We must allow for the effect of shade, you know.”

Mr. Knightley's (Mark Strong's) and Mrs. Weston's (Samantha Bond's) reactions. Emma 1995 A&E.

“You have made her too tall, Emma,” said Mr. Knightley.

Emma knew that she had, but would not own it, and Mr. Elton warmly added,

Mr. Elton's enthusiastic response continues unabated. Emma 2009

“Oh, no! certainly not too tall; not in the least too tall. Consider, she is sitting down—which naturally presents a different—which in short gives exactly the idea—and the proportions must be preserved, you know. Proportions, fore-shortening.—Oh, no! it gives one exactly the idea of such a height as Miss Smith’s. Exactly so indeed!”

Mr. Woodhouse examines his daughter's effort. Emma 1996

“It is very pretty,” said Mr. Woodhouse. “So prettily done! Just as your drawings always are, my dear. I do not know any body who draws so well as you do. The only thing I do not thoroughly like is, that she seems to be sitting out of doors, with only a little shawl over her shoulders—and it makes one think she must catch cold.”

1996 A&E Emma's pale portrait of Harriet by candle light

“But, my dear papa, it is supposed to be summer; a warm day in summer. Look at the tree.”

Closeup Emma 2009's painting of Harriet.

“But it is never safe to sit out of doors, my dear.”

Mr. Woodhouse (Bernard Hepton) expresses concern for Harriet's warmth and comfort. Emma 1996 A&E

“You, sir, may say any thing,” cried Mr. Elton; “but I must confess that I regard it as a most happy thought, the placing of Miss Smith out of doors; and the tree is touched with such inimitable spirit! Any other situation would have been much less in character. The naïveté of Miss Smith’s manners—and altogether—Oh, it is most admirable! I cannot keep my eyes from it. I never saw such a likeness.”

Mr. Elton (Alan Cumming) enthusiastically endorses the portrait and offers to take it to London to have it framed. Emma 1996

Mr. Elton expressed his extreme gratification by offering to ride to London in December to have the picture framed, leaving Emma with these happy but largely erroneous thoughts:

“This man is almost too gallant to be in love,” thought Emma. “I should say so, but that I suppose there may be a hundred different ways of being in love. He is an excellent young man and will suit Harriet exactly: it will be an ‘exactly so’ as he says himself; but he does sigh and languish, and study for compliments rather more than I could endure as a principal. I come in for a pretty good share as a second, But it is his gratitude on Harriet’s account.”

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Jane Austen had a few ideas about what would happen to some of her characters in the future. Emma’s Mr. Woodhouse would live for two more years after his daughter’s marriage to Mr. Knightley, and the letters from Frank Churchill that Jane Fairfax placed before her contained the word “pardon.” These little tidbits of information help to make the books and movie adaptations so much more enjoyable to read and watch.

In my previous observations of the film adaptation of Emma 2009, I mentioned several times that I disliked Romola Garai’s interpretation of the role, but I have now seen the film four times AND rewatched other Emma films, including Clueless, which remains my favorite. I have also been listening to the full book version of Emma on my iPod. My mama sagely told me, “you CAN teach an old dog new tricks”, and after the second episode of Emma aired on PBS last week and after viewing the Kate Beckinsale version of Emma (1996) with a friend, this crotchety old dog has come to the rather astonishing realization that she likes Romola as Emma after all.

Romola’s quick moving, restless Emma captures her immaturity and boredom. Highbury is a town that is much too confining for such a talented, rich and lively young lady, and with so little to do, this self-indulgent and coddled girl can’t help but create mischief. If only Emma could apply herself long enough to become proficient at something, she might have been able to keep her nose out of other peoples’ lives. But she keeps making lists, with every intention of reading the books. As Mr. Knightley observed to Mrs Weston:

Emma reads two pages of Milton

Emma has been meaning to read more ever since she was twelve years old. I have seen a great many lists of her drawing up at various times of books that she meant to read regularly through—and very good lists they were—very well chosen, and very neatly arranged—sometimes alphabetically, and sometimes by some other rule. The list she drew up when only fourteen—I remember thinking it did her judgment so much credit, that I preserved it some time; and I dare say she may have made out a very good list now. But I have done with expecting any course of steady reading from Emma. She will never submit to any thing requiring industry and patience, and a subjection of the fancy to the understanding.

Emma also paints, but, as her portfolio (and pale painting of Harriet Smith) demonstrates, she is hard pressed to finish these projects.

Emma's very pale painting of Harriet Smith

Emma wished to go to work directly, and therefore produced the portfolio containing her various attempts at portraits, for not one of them had ever been finished, that they might decide together on the best size for Harriet. Her many beginnings were displayed. Miniatures, half-lengths, whole-lengths, pencil, crayon, and water-colours had been all tried in turn. She had always wanted to do everything, and had made more progress both in drawing and music than many might have done with so little labour as she would ever submit to.”

Emma can play the pianoforte prettily enough, but not as well as Jane Fairfax, which bothers her:

Emma is invited to play first at the Coles' party

She did unfeignedly and unequivocally regret the inferiority of her own playing and singing. She did most heartily grieve over the idleness of her childhood–and sat down and practised vigorously an hour and a half.

She was then interrupted by Harriet’s coming in; and if Harriet’s praise could have satisfied her, she might soon have been comforted.

“Oh! if I could but play as well as you and Miss Fairfax!”

“Don’t class us together, Harriet. My playing is no more like her’s, than a lamp is like sunshine.” – Emma, Volume 2, Chapter 9

Sandy Welch, scriptwriter of this Emma adaptation, observed that Cher, the Emma character in Clueless, was bossy but sweet and well-meaning. In her script, Ms. Welch wanted to show that the coddled young Emma had an attitude of “well-meaning snobbishness” and that in all her meddling, she sincerely thought:  “doesn’t everyone think like this?”


And so in my fourth viewing of Romola’s performance as Jane Austen’s wealthiest and most entitled heroine, I have finally come to admire this heroine. My change of heart was especially helped when I reviewed previous Emma adaptations during the last snow storm, and realized just how thoroughly this new production fit in with our modern sensibilities.  I (and a few of my Janeite friends) still think that Romola’s  facial grimaces and wide eyed interpretation of a very young Emma in the first half of the series were overly exaggerated, but she toned down her performance as Emma matured and grew in understanding.

Her scenes with Jonny Lee Miller during his proposal were tender and touching and gave a fitting ending to the series. I shall miss these Sunday evenings watching Emma. Thankfully, PBS will be showing reruns of Persuasion and Northanger Abbey, which were originally shown during Jane Austen Season two years ago. Jane Austen fans can take heart that our time with the bonnet series is not yet over.

Now that you have seen all the episodes of Emma, what did you think?

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Romola Garai as Emma

Once again PBS will host a Twitter Party during the second installment of Emma 2009. Come join me and Laurel Ann from Austenprose for a chat from 9-11 PM EST. PBS has also arranged for a Twitter Fest for those who live on the west coast. That Twitter Chat will begin at 9 PM PT and last until 11 PM. Click here for the details. Don’t forget to use the hash tag #emma_pbs! See you there.

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IMDb has become an indispensable site for those of us who love movies. I especially love the trivia the site features about each film. Take Emma 2009, for example. Costumes that were recycled from other films are listed there. Let’s look at a few:

Johdi May's purple coat

The purple coat Jodhi May (Mrs. Weston) wears on market day in Highbury is the same costume Hattie Morahan (Elinor Dashwood) wears when she arrives at Barton Cottage in “Sense & Sensibility” (2008).

Elinor in purple pelisse

The dark Spencer worn by Louise Dylan (Harriet Smith) to visit the poor is the same costume Lucy Scott wears in “Pride and Prejudice”(1995).

Harriet Smith (Louise Dylan) in dark spencer

The off-white dress with floral embroidery on the bodice worn by Christina Cole (Mrs. Elton) for her big entrance in church is the same costume worn by Cesca Martin in “The Regency House Party” (2004) during her “engagement,” and by Natasha Little (Becky Sharp) at Park Lane in “Vanity Fair” (1998).

Christina Cole as Mrs. Elton, Her Entrance in Church

The gray gown with gold bow print worn by Tamsin Greig (Miss Bates) to Miss Taylor’s wedding is the same costume worn by Anna Massey (Aunt Norris) in “Mansfield Park” (1983), Phyllida Law (Mrs. Bates) in Emma (1996), Lindsay Duncan (Mrs. Price) when Fanny leaves home in Mansfield Park (1999), Janine Duvitski (Mrs. Meagles) in “Little Dorrit” (2008), and Linda Bassett (Mrs. Jennings) in London in “Sense & Sensibility” (2008).

Miss Bates in gray pelisse and Emma in a floral gown

The floral print dress worn by Romola Garai (Emma) to Miss Taylor’s wedding is the same costume worn by Dagmara Dominczyk (Mercedès Iguanada) for Edmond’s homecoming at the beginning of The Count of Monte Cristo (2002).

Johdi May in lilac floral colored wrap dress

The lilac colored floral wrap dress Jodhi May (Anne Taylor/Weston) wears at Hartfield is the same costume worn by Denise Black (Mrs.Brocklebank) in “To the Ends of the Earth” (2005), and Alex Kingston (Mrs.Bennet) in “Lost in Austen” (2008).

Wearing a floral waistcoat at the Cole's party, Jonny Lee Miller as Mr. Knightley

The blue floral waistcoat Jonny Lee Miller (Mr.Knightley) wears at the Coles’ party is the same costume worn by Joseph Beattie (Henry Crawford) in Mansfield Park (2007) (TV).

Henry and Mary Crawford

For more recycled fashion comparisons, go to this link.

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Miss Emma Woodhouse was a bright, articulate, privileged and beautiful young lady who possessed an unswerving sense of her lofty position in Highbury society. To some, Gwynneth Paltrow, an equally privileged woman in real life, was perfect for the role. For me, Kate Beckinsale (A&E Emma) and Alicia Silverstone (Clueless) are unbeatable as Jane Austen’s favorite heroine. With PBS’s recent showing of Emma 2009, many are coming to prefer Romola Garai’s more vivacious interpretation. (Read my review here.) Regardless of which actress portrays Emma, class distinctions play a pivotal role in the plot . Today I present to you (largely in Jane Austen’s own words) the reasons why so much ado was made over who could marry whom and why a very young, single woman was given the best seat at Highbury’s tables.

Mr. Elton was presumptuous in courting Emma:

Mr. Elton’s wanting to pay his addresses to her had sunk him in her opinion. His professions and his proposals did him no service. She thought nothing of his attachment, and was insulted by his hopes. He wanted to marry well, and having the arrogance to raise his eyes to her, pretended to be in love; but she was perfectly easy as to his not suffering any disappointment that need be cared for. There had been no real affection either in his language or manners. Sighs and fine words had been given in abundance; but she could hardly devise any set of expressions, or fancy any tone of voice, less allied with real love. She need not trouble herself to pity him. He only wanted to aggrandise and enrich himself; and if Miss Woodhouse of Hartfield, the heiress of thirty thousand pounds, were not quite so easily obtained as he had fancied, he would soon try for Miss Somebody else with twenty, or with ten…”

Mr Elton presumes to sit between Emma and Mrs. Weston

Perhaps it was not fair to expect him to feel how very much he was her inferior in talent, and all the elegancies of mind. The very want of such equality might prevent his perception of it; but he must know that in fortune and consequence she was greatly his superior. He must know that the Woodhouses had been settled for several generations at Hartfield, the younger branch of a very ancient family–and that the Eltons were nobody. The landed property of Hartfield certainly was inconsiderable, being but a sort of notch in the Donwell Abbey estate, to which all the rest of Highbury belonged; but their fortune, from other sources, was such as to make them scarcely secondary to Donwell Abbey itself, in every other kind of consequence; and the Woodhouses had long held a high place in the consideration of the neighbourhood which Mr. Elton had first entered not two years ago, to make his way as he could, without any alliances but in trade, or any thing to recommend him to notice but his situation and his civility. – Chapter 16


Donwell Abbey

When a woman married, she took on her husband’s status. Therefore it would have made no sense for Emma to have come down in the world and married Mr. Elton, a mere vicar. For marriage material, she (and her sister) would have naturally looked towards the Knightley brothers.  Be that as it may, Emma thought of Mr Elton as “quite the gentleman himself, and without low connections; at the same time not of any family that could fairly object to the doubtful birth of Harriet. He had a comfortable home for her, and Emma imagined a very sufficient income; for though the vicarage of Highbury was not large, he was known to have some independent property;” (I, Ch.4, p.33)  After Emma’s unceremonious rejection of his suit, Mr. Elton left Highbury in a dudgeon and wound up marrying well, for his bride came with £10,000.

The charming Augusta Hawkins, in addition to all the usual advantages of perfect beauty and merit, was in possession of an independent fortune, of so many thousands as would always be called ten; a point of some dignity, as well as some convenience: the story told well; he had not thrown himself away—he had gained a woman of 10,000, or thereabouts; and he had gained her with such delightful rapidity—the first hour of introduction had been so very soon followed by distinguishing notice; the history which he had to give Mrs. Cole of the rise and progress of the affair was so glorious—the steps so quick, from the accidental rencontre, to the dinner at Mr. Green’s, and the party at Mrs. Brown’s—smiles and blushes rising in importance—with consciousness and agitation richly scattered—the lady had been so easily impressed—so sweetly disposed—had in short, to use a most intelligible phrase, been so very ready to have him, that vanity and prudence were equally contented.

Mr and Mrs Elton on Box Hill Emma 2009

Blake Ritson and Christina Cole as Mr and Mrs. Elton

Mr. Elton provided his wife with a respectable home and living. Augusta’s mistake was in thinking that through her marriage, she belonged to the same echelon of society as Emma. In Emma’s estimation:

[Mrs. Elton] was good enough for Mr. Elton, no doubt; accomplished enough for Highbury—handsome enough—to look plain, probably, by Harriet’s side. As to connection, there Emma was perfectly easy; persuaded, that after all his own vaunted claims and disdain of Harriet, he had done nothing. On that article, truth seemed attainable. What she was, must be uncertain; but who she was, might be found out; and setting aside the 10,000l., it did not appear that she was at all Harriet’s superior. She brought no name, no blood, no alliance. Miss Hawkins was the youngest of the two daughters of a Bristol-merchant, of course, he must be called; but, as the whole of the profits of his mercantile life appeared so very moderate, it was not unfair to guess the dignity of his line of trade had been very moderate also. Part of every winter she had been used to spend in Bath; but Bristol was her home, the very heart of Bristol; for though the father and mother had died some years ago, an uncle remained—in the law line—nothing more distinctly honourable was hazarded of him, than that he was in the law line; and with him the daughter had lived. Emma guessed him to be the drudge of some attorney, and too stupid to rise. And all the grandeur of the connection seemed dependent on the elder sister, who was very well married, to a gentleman in a great way, near Bristol, who kept two carriages! That was the wind-up of the history; that was the glory of Miss Hawkins.

Hartfield

The Coles, who made their living from trade, did not move in the same circles as Emma, but many of the people she associated with felt comfortable visiting the Coles, including the Westons and Mr. Knightley:

The Coles had been settled some years in Highbury, and were very good sort of people–friendly, liberal, and unpretending; but, on the other hand, they were of low origin, in trade, and only moderately genteel. On their first coming into the country, they had lived in proportion to their income, quietly, keeping little company, and that little unexpensively; but the last year or two had brought them a considerable increase of means– the house in town had yielded greater profits, and fortune in general had smiled on them. With their wealth, their views increased; their want of a larger house, their inclination for more company. They added to their house, to their number of servants, to their expenses of every sort; and by this time were, in fortune and style of living, second only to the family at Hartfield. Their love of society, and their new dining-room, prepared every body for their keeping dinner-company; and a few parties, chiefly among the single men, had already taken place. The regular and best families Emma could hardly suppose they would presume to invite– neither Donwell, nor Hartfield, nor Randalls. Nothing should tempt her to go, if they did; and she regretted that her father’s known habits would be giving her refusal less meaning than she could wish. The Coles were very respectable in their way, but they ought to be taught that it was not for them to arrange the terms on which the superior families would visit them. This lesson, she very much feared, they would receive only from herself; she had little hope of Mr. Knightley, none of Mr. Weston.

But she had made up her mind how to meet this presumption so many weeks before it appeared, that when the insult came at last, it found her very differently affected. Donwell and Randalls had received their invitation, and none had come for her father and herself.

Mr. Robert Martin, yeoman farmer, made a comfortable living, but he had no social standing to speak of, at least not in Emma’s eyes:

Jefferson Hall as Robert Martin

There was no reason for Emma to associate with a young yeoman farmer and she was not expected to acknowledge him when they met in public, for they had not formally met. And he would not presume to speak to her until he received a proper  introduction.  This conversation between Emma and Harriet explains Emma’s attitude towards Mr. Martin:

Harriet: But, did you never see him? He is in Highbury every now and then, and he is sure to ride through every week in his way to Kingston. He has passed you very often.”

Emma: “That may be—and I may have seen him fifty times, but without having any idea of his name. A young farmer, whether on horseback or on foot, is the very last sort of person to raise my curiosity. The yeomanry are precisely the order of people with whom I feel I can have nothing to do. A degree or two lower, and a creditable appearance might interest me; I might hope to be useful to their families in some way or other. But a farmer can need none of my help, and is therefore in one sense as much above my notice as in every other he is below it.”

The success of tradesmen and farmers meant the class distinctions were beginning to blur at this time: “Mr. Martin is not, in fact, a mere tenant “farmer” but a prosperous yeoman – an excellent catch for the portionless Harriet Smith.” (- Cathleen Meyers, Emma). In fact, Harriet recalls her two months with the Martins with fondness:

… she had spent two very happy months with [the Martins], and now loved to talk of the pleasures of her visit, and describe the many comforts and wonders of the place … of Mrs. Martin’s having “two parlours, two very good parlours indeed; one of them quite as large as Mrs. Goddard’s drawing-room; and of her having an upper maid who had lived five-and-twenty years with her; and of their having eight cows, two of them Alderneys, and one a little Welch cow, a very pretty little Welch cow, indeed; and of Mrs. Martin’s saying, as she was so fond of it, it should be called her cow; and of their having a very handsome summer-house in their garden, where some day next year they were all to drink tea:—a very handsome summer-house, large enough to hold a dozen people.”

Mr. Martin worked on Mr. Knightley’s estate, and the two men saw each other frequently to conduct business, which is how Mr. Knightley came to greatly esteem the sensible young man:

I never hear better sense from any one than Robert Martin. He always speaks to the purpose; open, straight forward, and very well judging. He told me every thing; his circumstances and plans, and what they all proposed doing in the event of his marriage. He is an excellent young man, both as son and brother. I had no hesitation in advising him to marry. He proved to me that he could afford it; and that being the case, I was convinced he could not do better. I praised the fair lady too, and altogether sent him away very happy.

Once Harriet married Robert Martin, she and Emma would no longer travel in the same social circles. But, as Mr. Knightley rightly pointed out,  Mr. Martin was an excellent catch for Harriet, the natural daughter of somebody. When Mr. Knightley learns that Harriet (through Emma’s persuasion) had rejected Mr. Martin’s proposal of marriage, he exclaimed:

Louise Dyland as Harriet and Romola Garai as Emma read a riddle

“No, he is not her equal indeed, for he is as much her superior in sense as in situation. Emma, your infatuation about that girl blinds you. What are Harriet Smith’s claims, either of birth, nature or education, to any connection higher than Robert Martin? She is the natural daughter of nobody knows whom, with probably no settled provision at all, and certainly no respectable relations. She is known only as parlour-boarder at a common school. She is not a sensible girl, nor a girl of any information. She has been taught nothing useful, and is too young and too simple to have acquired any thing herself. At her age she can have no experience, and with her little wit, is not very likely ever to have any that can avail her. She is pretty, and she is good tempered, and that is all. My only scruple in advising the match was on his account, as being beneath his deserts, and a bad connexion for him. I felt, that as to fortune, in all probability he might do much better; and that as to a rational companion or useful helpmate, he could not do worse. But I could not reason so to a man in love, and was willing to trust to there being no harm in her, to her having that sort of disposition, which, in good hands, like his, might be easily led aright and turn out very well. The advantage of the match I felt to be all on her side; and had not the smallest doubt (nor have I now) that there would be a general cry-out upon her extreme good luck.

Miss Bates and  Mrs. Bates, although well respected, had no money to speak of:

Tamsin Greig as Miss Bates

The penniless widows of Vicars led a hard-scrabble life, for there were no pensions. As a former Vicar’s wife, Mrs. Bates still had some social standing in the community, retaining her position in the second tier of society. But she and her daughter needed to live economically and they depended on charity from friends to help stretch their meager income. After moving from the comfortable vicarage house, they settled into spare rooms above a shop in the center of town.

After these came a second set; among the most come-at-able of whom were Mrs. and Miss Bates and Mrs. Goddard, three ladies almost always at the service of an invitation from Hartfield, and who were fetched and carried home so often that Mr. Woodhouse thought it no hardship for either James or the horses. Had it taken place only once a year, it would have been a grievance.

Mrs. Bates, the widow of a former vicar of Highbury, was a very old lady, almost past every thing but tea and quadrille. She lived with her single daughter in a very small way, and was considered with all the regard and respect which a harmless old lady, under such untoward circumstances, can excite. Her daughter enjoyed a most uncommon degree of popularity for a woman neither young, handsome, rich, nor married. Miss Bates stood in the very worst predicament in the world for having much of the public favour; and she had no intellectual superiority to make atonement to herself, or frighten those who might hate her, into outward respect. She had never boasted either beauty or cleverness. Her youth had passed without distinction, and her middle of life was devoted to the care of a failing mother, and the endeavour to make a small income go as far as possible.

Mr. Weston’s social position was inferior to his son, Frank’s:

Robert Bathurst as Mr. Weston

Mr. Weston, a former military man, married up. His first wife assumed his social standing and came down in the world. This brought conflict to their short marriage. After the first Mrs. Weston died, her son,  Frank, was raised by his rich uncle and his wife, the Churchills. It was quite common at the time for childless families to adopt someone else’s child (this happened with Jane Austen’s brother, Edward, who took on the name of his adopted family – Knight), and thus Frank’s social position rose above his father’s. It was not inconceivable or far fetched that Emma would set her eyes in his direction. The adoption meant that Frank was in line to inherit Enscombe, which meant that his most pressing duty lay towards the ailing Mrs. Churchill, who was in control of Frank’s purse strings and her will. Had Mrs. Churchill known of Frank’s secret engagement to Jane Fairfax, a woman with no marriage portion or prospects, she would have been seriously displeased.

Mr. Weston was a native of Highbury, and born of a respectable family, which for the last two or three generations had been rising into gentility and property. He had received a good education, but on succeeding early in life to a small independence, had become indisposed for any of the more homely pursuits in which his brothers were engaged; and had satisfied an active, cheerful mind and social temper by entering into the militia of his county, then embodied.

Captain Weston was a general favourite; and when the chances of his military life had introduced him to Miss Churchill, of a great Yorkshire family, and Miss Churchill fell in love with him, nobody was surprized except her brother and his wife, who had never seen him, and who were full of pride and importance, which the connection would offend.

Miss Churchill, however, being of age, and with the full command of her fortune—though her fortune bore no proportion to the family-estate—was not to be dissuaded from the marriage, and it took place to the infinite mortification of Mr. and Mrs. Churchill, who threw her off with due decorum. It was an unsuitable connection, and did not produce much happiness. Mrs. Weston ought to have found more in it, for she had a husband whose warm heart and sweet temper made him think every thing due to her in return for the great goodness of being in love with him; but though she had one sort of spirit, she had not the best. She had resolution enough to pursue her own will in spite of her brother, but not enough to refrain from unreasonable regrets at that brother’s unreasonable anger, nor from missing the luxuries of her former home. They lived beyond their income, but still it was nothing in comparison of Enscombe: she did not cease to love her husband, but she wanted at once to be the wife of Captain Weston, and Miss Churchill of Enscombe.

Rupert Evans as Frank Churchill

Captain Weston, who had been considered, especially by the Churchills, as making such an amazing match, was proved to have much the worst of the bargain; for when his wife died, after a three years’ marriage, he was rather a poorer man than at first, and with a child to maintain. From the expense of the child, however, he was soon relieved. The boy had, with the additional softening claim of a lingering illness of his mother’s, been the means of a sort of reconciliation; and Mr. and Mrs. Churchill, having no children of their own, nor any other young creature of equal kindred to care for, offered to take the whole charge of the little Frank soon after her decease. Some scruples and some reluctance the widower-father may be supposed to have felt; but as they were overcome by other considerations, the child was given up to the care and the wealth of the Churchills, and he had only his own comfort to seek and his own situation to improve as he could.

A complete change of life became desirable. He quitted the militia and engaged in trade, having brothers already established in a good way in London, which afforded him a favourable opening. It was a concern which brought just employment enough. He had still a small house in Highbury, where most of his leisure days were spent; and between useful occupation and the pleasures of society, the next eighteen or twenty years of his life passed cheerfully away. He had, by that time, realized an easy competence—enough to secure the purchase of a little estate adjoining Highbury, which he had always longed for—enough to marry a woman as portionless even as Miss Taylor, and to live according to the wishes of his own friendly and social disposition.

Jane Fairfax’s future as governess was tenuous at best:

Laura Pyper as Jane Fairfax

Well educated and raised in comfort by the Campbell’s, Jane’s only hope of making her way in the world was as a governess. Her position in society would have been untenable, as Jane Austen described: “With the fortitude of a devoted novitiate, she had resolved at one-and-twenty to complete the sacrifice and retire from all the pleasures of life, of rational intercourse, equal society, peace, and hope, to penance and mortification forever.”  Read more about the position of governess in my post,  The Governess in the Age of Jane Austen at this link. The following conversation between Mrs. Elton and Jane describes her predicament:

“I did not mean, I was not thinking of the slave-trade,” replied Jane; “governess-trade, I assure you, was all that I had in view; widely different certainly as to the guilt of those who carry it on; but as to the greater misery of the victims, I do not know where it lies. But I only mean to say that there are advertising offices, and that by applying to them I should have no doubt of very soon meeting with something that would do.”

“Something that would do!” repeated Mrs. Elton. “Aye, that may suit your humble ideas of yourself;—I know what a modest creature you are; but it will not satisfy your friends to have you taking up with any thing that may offer, any inferior, commonplace situation, in a family not moving in a certain circle, or able to command the elegancies of life.”

“You are very obliging; but as to all that, I am very indifferent; it would be no object to me to be with the rich; my mortifications, I think, would only be the greater; I should suffer more from comparison. A gentleman’s family is all that I should condition for.”

“I know you, I know you; you would take up with any thing; but I shall be a little more nice, and I am sure the good Campbells will be quite on my side; with your superior talents, you have a right to move in the first circle. Your musical knowledge alone would entitle you to name your own terms, have as many rooms as you like, and mix in the family as much as you chose;—that is—I do not know—if you knew the harp, you might do all that, I am very sure; but you sing as well as play;—yes, I really believe you might, even without the harp, stipulate for what you chose;—and you must and shall be delightfully, honourably and comfortably settled before the Campbells or I have any rest.”

“You may well class the delight, the honour, and the comfort of such a situation together,” said Jane, “they are pretty sure to be equal; however, I am very serious in not wishing any thing to be attempted at present for me. I am exceedingly obliged to you, Mrs. Elton, I am obliged to any body who feels for me, but I am quite serious in wishing nothing to be done till the summer.

Romola Garai and Jonny Lee Miller as Emma and Mr. Knightley

Highbury was a small, circumscribed town, and Emma’s choices for a mate were extremely limited. It is with no wonder (and quite a bit of satisfaction) that she came to recognize her feelings for Mr. Knightley. With her marriage to him and his willingness to move to Hartfield, her social situation scarcely changed at all.

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