it can only cause immeasurable harm, as Emma not only deceives herself but is in turn deceived by Frank, the gleefully mischievous intruder.
Something is painfully wrong. We realize, certainly by the evening of the box-of-letters game at Hartwell, that Emma is hardly herself. This appears during the day’s outing to Box Hill, a harmless party of pleasure to which only Jane Austen could have given such chilling significance. When Emma makes her cutting remark, her openly rude put-down, to Miss Bates, it is as though the heavens—ironically clear and fine—might fall. Miss Bates ‘did not immediately catch her meaning; but when it burst on her, it could not anger, though a slight blush showed that it could pain her.’ Poor Miss Bates, always to be borne with, like some gentle natural force, is a moral test for the whole of Highbury, who are in a kind of neighbourly conspiracy to make her feel wanted. Emma, of all people, fails the test. ‘It was badly done, indeed!’ says Mr Knightley. And Emma, who has a great capacity for suffering, has to bear not only this reproach, but, later on, Miss Bates’s ‘dreadful gratitude.’ Her intrigues have led her farther and farther away from ‘everything that is decided and open.’ Not one of the heroines of Jane Austen’s other novels is so deluded. None of them is so obstinate. None of them, certainly, makes such a brutal remark. And yet Jane Austen is successful. We love Emma, and hate to see her humbled. The very structure of the book asks us to compare her with Jane Fairfax. Jane is faultless, delicate, unfortunate, and mysterious, but we do not, even for a moment, feel for her as we do for Emma. We have to watch her struggle. She has ‘two spirits,’ Mr Knightley reminds her, the vain and the serious. The two spirits are self-will and conscience, and Emma, in the last instance, has to battle it out for herself.
She has, of course, a safe guide in Mr Knightley. I once asked some students for an alternative title to the novel, and they suggested ‘Mr Rightly.’ He is ‘a sensible man about seven—or eight-and-thirty’ (much more convincing than if we knew exactly which). He has knowledge, experience, and the courage to speak out. He acts, while others talk. At the dinner party at the Westons’, when all are discussing the fallen snow and the impossibility of driving back, Mr Knightley goes out to have a look for himself, and is able to answer ‘for there not being the smallest difficulty in their getting home, whenever they liked it.’ Frank Churchill, the weak romantic hero, rescues Harriet from the gypsies, but it is Mr Knightley, when she has been grossly humiliated by the Eltons, who asks her to dance. And yet he too has something to learn. Even before Frank’s long-delayed arrival in Highbury, the sanely judging Mr Knightley has taken unreasonably against him, or rather against Emma’s interest in him. ‘“He is a person I never think of from one month’s end to another,” said Mr Knightley, with a degree of vexation, which made Emma immediately talk of something else, though she could not comprehend why he should be angry.’ Nor can he.
Mr Knightley is pre-eminently the right man in the right place. Highbury, it is true, is less lively than it used to be—its ‘brilliant days’ are past, and the ballroom is used for a whist club—but the village lies in what seems unthreatened prosperity, surrounded by fields of wheat, oats, turnips, and beans and the parkland and strawberry beds of substantial houses. Jane Austen has been careful to make it a haven of only lightly disturbed peace. Since Mr Knightley himself is the local magistrate, there is nothing to fear. Emma, unlike the heroines of the other novels, makes no journeys, has never even seen the sea, but we come to realize that Donwell and Hartfield, ‘English verdure…English comfort, seen under a sun bright, without being oppressive,’ won’t, after all, be restrictive to her soaring temperament. Indeed, she accepts it herself as she stands looking out of the door of Ford’s, Highbury’s one large draper’s shop:
when her eyes fell only on the butcher with his tray, a tidy old woman travelling homewards from shop with her full basket, two curs quarrelling over a dirty bone, and a string of dawdling children round the baker’s little bow-window eyeing the gingerbread, she knew she had no reason to complain, and was amused enough; quite enough still to stand at the door. A mind lively and at ease, can do with seeing nothing, and can see nothing that does not answer.
This passage lies at the very heart of the book, an interlude, not of idleness, but of busy tranquillity.
In Northanger Abbey Jane Austen refers to the ‘rules of composition’ of ‘my fable.’ What were her rules of composition? It is sometimes said that in her later novels she shows contempt and even hatred for her wrongthinkers and wrongdoers. Certainly she was a writer in whom the comic spirit burned very strongly and who felt that some inhumanities are hard to forgive. But although she had the born satirist’s opportunity to punish, she surely used it very sparingly in Emma. Frank Churchill, in his negligent way, causes more pain than anyone else in the book. He misleads Emma, largely to safeguard himself, and teases the helpless Jane almost to breaking point. What is his reward? In Mr Knightley’s words, ‘His aunt is in the way.—His aunt dies.—He has only to speak.—His friends are eager to promote his happiness.—He has used every body ill—and they are all delighted to forgive him.—He is a fortunate man indeed!’ Miss Bates, on the other hand, the woman of ‘universal good-will,’ might, by any other writer, have been rewarded, but nothing of the kind occurs. ‘She is poor; she has sunk from the comforts she was born to; and if she live to old age, must probably sink more.’ Mr Elton, however, and his insufferable wife both flourish. Their satisfaction in themselves is not disturbed. They are the unreachables of classic comedy.
Beneath the moral structure of Jane Austen’s novels lie, not hidden but taken for granted, her religious beliefs. In Emma they are openly expressed only once. After Mr Knightley declares himself Emma finds that ‘a very short parley with her own heart produced the most solemn resolution of never quitting her father.—She even wept over the idea of it, as a sin of thought.’ ‘Sin of thought’ is a phrase familiar from the Evangelical examination of the conscience, and the book here is at its most serious. Emma’s love for her father has been, from the first, the way of showing the true deep worth of her character.
But Jane Austen gave her family (so her nephew says in his Memoir) ‘many little particulars about the subsequent careers of her people.’ She told them that ‘Mr Woodhouse survived his daughter’s marriage, and kept her and Mr Knightley from settling at Donwell, about two years.’ The story ends, then, with a quite unexpected irony: Mr Woodhouse was right, after all, to fancy that his health was in a dangerous state. It is hard to imagine Highbury without him, as Jane Austen evidently could. But it is a corresponding relief to think of Emma—the warmhearted, headstrong, even dangerous Emma—safe and in ‘perfect happiness’ at Donwell.
Introduction to the Oxford University Press World
Classics edition of Emma, 1999
WILLIAM BLAKE The Unfading Vision
Blake, by Peter Ackroyd
Blake was one of those for whom, in William James’s definition, ‘religion exists not as a dull habit, but as an acute fever rather.’ He spoke with his visions on equal terms, sat down with them and answered them back. They came as welcome visitors: Jesus Christ, the angel Gabriel, Socrates, Michelangelo, his own younger brother Robert, dead at the age of nineteen. What seemed external reality he called a cloud interposed between human beings and the spiritual world, which would otherwise be too bright to bear. He wanted us all to know this. At one point in his biography of Blake, Peter Ackroyd speaks of him as ‘keeping his own counsel,’ but, as the book shows, Blake didn’t. It was his mission to recall us from materialism to the freedom and joy of the imagination, and it was humanity’s duty to listen to his prophecies.
The Blakes were a plain-living London tradesman’s family, pious, sober, dissenting and radical. William (1757—1827), the third child of James and Catherine Blake, was born on Broad Street, a little to the southeast of what is now Oxford Circus. A workhouse and a slaughterhouse were just around the corner, but so too, to the south, was Golden Square, where the gentry lived. William saw the face of God at the window when he was seven or eight years old, wrote poetry as a child, and was apprenticed at fourteen to James Basire, engraver to the Society of Antiquaries. A republican