Character Commodification as a Response to Class Destabilization in Emma - Literature Essay Samples

Jane Austens classic is not merely a story of Emma Woodhouses journey of self discovery, nor is it just a tale of country romance, but rather, Emma chronicles the anxiety of its time: the destabilization of the classes. As the Industrial Revolution allowed for the democratization of money, more and more individuals were able to climb the social ladder in England as never before. With the formation of the à ¬new middle classà ® came the blurring of class distinction and the impetus for the bourgeois identity crisis. With so many people gaining access to such signs of affluence as clothing, furnishings, and the means to move farther away from the city, the ability to distinguish the new middle class from the gentry was becoming difficult. From the characterization of the Eltons, Coles, Martins, and Sucklings, to the geography of the setting, Emma reveals bourgeois societys fear of infiltration.Perhaps Austens best characterization of the nouveau riche comes in the form of Mr. an d Mrs. Cole. A à ¬very good sort of peopleof low origin, in trade, and only moderately genteel,à ® the Coles have managed to improve their means quite considerably in a short amount of time to become, à ¬in fortune and style of living, second only to the family at Hartfieldà ® (132). Emma is particularly offended by their upward mobility and is determined to refuse their invitation to a dinner party: à ¬The Coles were very respectable in their own way, but they ought to be taught that it was not for them to arrange the terms on which the superior families would visit themà ® (132). It is only after Emma realizes that all of her friends will be attending the party that she elects not to exercise the à ¬power of refusalà ® (132), but rather to accept her invitation, thereby further facilitating the amalgamation of the classes.One of the more interesting illustrations of the dismantling hierarchy of the classes is Austens choice of setting for her characters. Highbury is s ituated in the country and consists primarily of estates and cottages. What is interesting to note is the status of these estates and their relationship to one another. Most revealing is George Knightleys huge estate of Donwell Abbey, associated with a lineage predating Henry VIII, and its connection to Abbey Mill Farm and Hartfield. Given its relation in name and close proximity to Donwell Abbey, it is highly likely that Abbey Mill Farm was once a part of Knightleys estate. But, the farm is now occupied and owned by Robert Martin and his family and is no longer in an inferior position to Donwell. Similarly, given Hartfields adjacency to Donwell Abbey, it is conceivable that it, too, was previously associated with the larger estate. This geography is an effective illustration of the fracturing countryside and the dismantling of paternal dominion.Another particularly effective depiction of the countrysides vulnerability is Austens narration of Harriets attack by the gypsies. I n a passage akin to Dickens description of the working classs uncomfortable proximity to the suburbs, Austen writes: à ¬[T]he Richmond road, which, though apparently public enough for safety, had led them into alarm.à ³About half a mile beyond Highbury, making a sudden turn, and deeply shaded by elms on each sidethey had suddenly perceiveda party of gipsiesà ® (214). In this scene, Harriet and her companion are accosted by à ¬half a dozen children, headed by a stout womanà ® (214) begging for money. After Harriet gives them a shilling and begs them not to harm her, she is further approached, à ¬or rather surrounded, by the whole gang, demanding moreà ® (214). This description characterizes the popular caricature of the teeming masses of the working class, and it is a further representation of bourgeois social fears. Perhaps even more telling than the characterization of the gipsies in this scene is the characterization of Harriet. Throughout this passage, Harriet is referred to as à ¬Miss Smithà ® and a à ¬lady,à ® thereby masquerading Harriets class affiliation. At this point, Austen shows the reader that Harriets class goes unquestioned and that the inability to distinguish class in this society is becoming more difficult. Not only is the fear of invasion epitomized in the gypsy attack, but the anxiety of infiltration is further evidenced by Harriets new class ambiguity. Despite her newly acquired genteel addresses in this scene, Harriet is still masterfully prevented from rising too high in Highbury through her appropriation by Emma.Emma, in her obsessive narcissism, appoints Harriet her protà ©gà © and assumes the role of friend and guide. But, rather than improving Harriets position, Emmas concerns revolve around how Harriet may be most useful to her and how Harriets actions will best reflect on Emmas reputation. As Emmas fancy inspires her to invent a history for Harriet, Harriet assumes the role of Emmas canvas, both literally and figuratively. When Emma is not painting Harriets portrait, she is stylizing her character, particularly telling her who she should and should not marry. Throughout the text, Harriet is continually referred to as a à ¬Nobody,à ® further emphasizing her dehumanization by Emma. As Austen writes: à ¬Harriet had a sweet, docile, grateful disposition[and]Altogether [Emma] was quite convinced of Harriet Smiths being exactly the young friend she wantedà ³exactly the something which her home requiredHarriet would be loved as one to whom she could be usefulà ® (15). In this way, Harriets class ambiguity is overshadowed and controlled by Emmas appropriation of her. Augusta Elton is another character who illustrates the blurring of class distinction through her appropriation of signs of affluence. Aside from her repeated references to Bath, Maple Grove, and her relatives, the Sucklings, elegant carriage, Augustas soul desire is to manage everyone and everything, and to secure a position in bourgeois society. In her attempt to move in on genteel society, Augusta is keenly aware of the positions of those around her, and, as a result, her motivation to manage others moves toward the commodification of Jane Fairfax. As à ¬twinsà ® of snobbery and manipulation, both Emma and Augusta take it upon themselves to locate those in positions of inferiority, and through commodification they seek to maintain their respective statures. As Emma repeatedly snubs Robert Martin, the Coles, and others, Augusta thinks quite highly of herself and makes Harriet the target of her rebuke. This act of snobbery is particularly ironic considering both Augusta and Harriet come from mercantile parents. Similarly, both Emma and Augusta seek to take young, disadvantaged women under their charge to groom and improve them. As Augusta describes her intentions toward Jane, the reader can hear the echo of Emmas statements regarding Harriet: Jane Fairfax is absolutely charmingI quit e rave about Jane Fairfax. A sweet, interesting creature. So mild and ladylikeShe is very timid and silent. One can see that she feels the want of encouragementI am a great advocate for timidityJane Fairfax is a very delightful creature, and interests me more than I can express.à ³I shall certainly have her very often at my house, shall introduce her wherever I can. (180-181)Augusta appropriates herself the patroness of Jane and thereby acquires a sign of gentility. Later, Augusta tells Jane that she has secured her a job as a governess with a family of her sisters friend in town, thereby securing Janes removal as a threat. Both Jane and Harriet are relatively broke and devoid of parentage, but their noble qualities and charm make them threatening to a bourgeois society that is increasingly violated by those who possess appealing personal attributes rather than solely large bank accounts. For this reason, Emma and Augusta, in their obsessive narcissism, feel the need to contr ol these women; to maintain their superior status. As the novel closes with the allusion to home break-ins in the countryside, Austen reminds her readers that the threat of violation to the estates of the bourgeoisie is very real. As Knightley moves in with the Woodhouses, it is clear that à ¬the small band of true friendsà ® (313) must group together to combat such a threat. Under the guise of consideration, benevolence, and parental guardianship, Emma and Augusta cope with their inability to manage the upward mobility of the nouveau riche by plotting to maintain the inferiority of the young women they purport to improve.