In order to avoid embarrassment, Emma cleverly cloaks her competitive nature towards the young woman in friendly gestures. Emma sings and plays piano alongside Miss Fairfax, attempting to prove that she is worthier of praise. This admittance merely compounds the preexisting disdain Emma feels for Jane. Knightley is quick to scold Emma for her unnecessary behavior. It is at this point that Emma first recognizes and feels remorse for a mistake. Emma assures herself that she is helping others; however, her misunderstanding of her own flaws leads her to cause only pandemonium. Emma creates illusions of many characters according to how she would like to see them portrayed.
However, Emma is Hensarling 5 quick to determine that Harriet must be born of a family of high societal status simply because that is what she would like to believe. Although Emma realizes this, she consciously decides to retain a more beautiful form of Harriet. The painted image clearly adheres more closely to the version of Harriet that Emma has created. He clearly does not see the form of Harriet that Emma has created in her mind.
Martin as a less endowed member of the second class clearly in love with Harriet. Emma, though, is excessively concerned with his lack of social superiority and refuses to allow his marriage to Harriet. She is immediately hypercritical of Mr. Martin, unfairly and incorrectly classifying him as an ignorant, unworthy member of the lower class.
Even after this confession, Emma refuses to think of Mr. Martin as a gentleman and concludes that his sister must have assisted in writing the letter. Emma refuses to allow her original impression of Mr. Martin to be altered and stands beside her predetermined negative illusion of Mr. Emma truly believes that Mr. Elton is in love Hensarling 6 with Harriet, despite Mr. Elton is closely related to her inability to recognize and understand her own flaws. Ironically, by creating alternate forms of others to deal with their flaws, she is also avoiding acknowledgment of her own faults.
It is in order to deal with the loss of Mrs. Emma successfully persuades herself to consider this project a completely selfless act constructed to improve the welfare of her dear friend. The belief that she has based her actions entirely on generosity towards her friend allows Emma to overlook the self-serving undertones of her actions. Weston, insisting that to succeed requires some amount of effort. He assures Emma that she has played no part in the match between the lovers.
Martin is another successful play in her game of matchmaker. Emma experiences a sense of duty to find a match for Harriet that she feels is suitable. Martin is clearly in love with Harriet, Emma discourages the marriage, certain that Harriet must marry a gentleman of higher social status. Knightley becomes angered at the news that Harriet has rejected Mr. Martin as less than desirable expresses her own underlying discontent with marriage and obsession with societal status. Emma has an extraordinarily high level of confidence in her intellectual competence and is, quite frankly, often too smart for her own good.
Through her numerous follies, Emma is consistently presented to readers as a narcissist.
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Emma is so in love with the perfection of the image that she has created of herself that she fails to see her flaws. Emma fails to see that having intelligence is not always synonymous with making clever inferences and decisions. Then she tried her best to make a chance for Harriet and Mr. Elton to get along with each other. After that, readers could feel a sense of comedy when Emma give these two people a one-on-one chance on purpose.
Though, Emma noticed that Mr. Elton had not seized the opportunity to court Harriet in time as she had planned, however, Emma still deceives herself: On the contrary, in Mr. Dramatic irony lies in controlling of the love fantasy between Harriet and Mr. The scene contained a sense of ironic especially when Mr. Elton made a proposal to Emma instead of her friend. Readers would be more perceptive than in verbal irony or dramatic irony. Compared with verbal irony its form of irony is not made up by language factors; Compared with dramatic irony, it is not limited to a scene in a dramatic effect, but it pursues an complete effect of irony in specific situation.
Situational irony has two main aspects: As Muecke demonstrates between irony of events and dramatic irony: We distinguish between situational irony, which needs to be completed by the discomfiture of the victim, and dramatic irony, which is immediately ironical and not dependent upon any subsequent reading of the results. People conceive something will be happen, and strive hard to make it happen, while as the things make progress, the results are in comic contrast come to the expectancy.
Here is a typical instance: When Frank Churchill came to Highbury, Emma thought that he could be a suitable one for her to marry for he was cheerful and attractive. Apparently, it is a kind of bitter irony. Because in the previous part of the novel, Emma has sworn never to marry, however, the coming of Frank Churchill changes her idea, and she has a impassioned interest in Frank Churchill at first glance. Frank Churchill, which always interested her…that if she were to marry, he was the very person to suit her in age, character and condition. Besides, Emma experiences varied failures which can be realized according to the use of situational irony.
Her plans of the characters around her demonstrates her imaginary perception of what a situation is or might be, however, all of the conceive goes to an opposite direction. For example, after Emma fails to make a match and her own short-lived interest in Frank Churchill, she conceives the idea that Frank Churchill should marry Harriet. It is clear that the result would not in accordance with her imagination.
A Study on Jane Austen’s Irony in Emma_百度文库
In addition to, the aesthetic value of the fool under her ironic pen deserves much more attention. And it in terms of two aspects one is the effects of dramatic irony which the fools present. Fools have tried hard over centuries to affirm their proper places in society and literature.
This can be regarded as the most ironic scene for, on the one hand, we laugh at this fools, on the other hand, in return, we are also mocked by the author and her characters.
As for dramatic irony, irony is used with the intention of a comic effect which Austen illustrates in depicting human foibles. However, Austen selects out a sort of people just to work for the theme and plot but not to lash them.
Jane Austen Weekly: The Truth About Irony
These minor people are representative of us, as well as the author herself. Mazei connects free indirect discourse with narrative authority. For example, there are parallelism sentences, exclamation sentences, incomplete sentences full of emotional colors in Emma. Austen here tries to indicate that it is difficult for a woman to change others but usually changed by others in patriarchal society, even independent, wealthy woman like Emma. The cases of the paper are extracted from the novel Emma written by Jane Austen, and typical examples of irony are adopted.
Through a comprehensive study, this thesis has an overview on analyzing three types of irony in Emma and new relations between irony, aesthetic value of fools and duplicitous voice. Jane Austen, a famous representative writer of irony. The irony in her novels especially in Emma is noteworthy and it deserves close attention. This thesis applies three kinds of irony into the analysis of Emma. By analyzing the three kinds of irony which are the most predominant in the novel, the thesis presents how the irony works in the the scene description, the plot of the novel and characterization, etc.
And it can be found that those kinds of irony play an important role in Emma. The dissertation explores the art of irony in the novel through three main aspects: Verbal iron means the narrator conveys the ironic meaning through a particular word or phrase, or the tone of voice. Verbal irony is reflected in the level of language, it is an important foundation for dramatic irony and situational irony.
Dramatic irony plays an important role in portraying characters in Emma. The characters reveal themselves, unaware of the truth that the reader discerns. Situational irony is mainly used in Emma, which contains ten situations. Austen, however, used irony for satiric as well as comic effect. Often, then, the ironic comments in her novels do more than expose her characters' misguided assumptions; irony helps her condemn the social norms that help foster such beliefs. In Austen's novels, irony can appear in innumerable ways.
It can occur during a verbal exchange. For instance, in Sense and Sensibility, this is how Elinor defends Colonel Brandon's use of a flannel waistcoat: Confess, Marianne, is not there something interesting to you in the flushed cheek, hollow eye, and quick pulse of a fever? Obviously, the real object of Elinor's remark is to reveal the absurdity of Marianne's romantic sensibilities. Sometimes Austen's irony is visual. For example, in Emma, the fact that Emma blithely idealizes a portrait of Harriet Smith underscores the fact that Emma imagines much that is not true about her new friend.
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Austen's irony may also depend upon a disparity between what can be seen and what is invisible.