Themes, Motifs & Symbols
Themes are the fundamental and often universal ideas explored in a literary work.
Marriage and Social Status
Emma is structured around a number of marriages recently consummated or anticipated, and, in each case, the match solidifies the participant’s social status. In Austen’s time, social status was determined by a combination of family background, reputation, and wealth—marriage was one of the main ways in which one could raise one’s social status. This method of social advancement was especially crucial to women, who were denied the possibility of improving their status through hard work or personal achievement.
Yet, the novel suggests, marrying too far above oneself leads to strife. Mr. Weston’s first marriage to Miss Churchill had ostensibly been a good move for him, because she came from a wealthy and well-connected family (Mr. Weston is a tradesman), but the inequality of the relationship caused hardship to both. He marries Mrs. Weston just prior to the novel’s opening, and this second marriage is happier because their social statuses are more equal—Mrs. Weston is a governess, and thus very fortunate to be rescued from her need to work by her marriage. Emma’s attempt to match Harriet with Mr. Elton is also shunned by the other characters as inappropriate. Since Harriet’s parentage is unknown, Emma believes that Harriet may have noble blood and encourages her to reject what turns out to be a more appropriate match with Robert Martin. By the time it is revealed that Harriet is the daughter of a tradesman, Emma admits that Mr. Martin is more suitable for her friend.
The relationship between marriage and social status creates hardship for other characters. Frank Churchill must keep his engagement to the orphan Jane Fairfax secret because his wealthy aunt would disapprove. Jane, in the absence of a good match, is forced to consider taking the position of a governess. The unmarried Miss Bates is threatened with increasing poverty without a husband to take care of her and her mother. Finally, the match between Emma and Mr. Knightley is considered a good one not only because they are well matched in temperament but also because they are well matched in social class.
The Confined Nature of Women’s Existence
The novel’s limited, almost claustrophobic scope of action gives us a strong sense of the confined nature of a woman’s existence in early-nineteenth-century rural England. Emma possesses a great deal of intelligence and energy, but the best use she can make of these is to attempt to guide the marital destinies of her friends, a project that gets her into trouble. The alternative pastimes depicted in the book—social visits, charity visits, music, artistic endeavors—seem relatively trivial, at times even monotonous. Isabella is the only mother focused on in the story, and her portrayal suggests that a mother’s life offers a woman little use of her intellect. Yet, when Jane compares the governess profession to the slave trade, she makes it clear that the life of a working woman is in no way preferable to the idleness of a woman of fortune. The novel focuses on marriage because marriage offers women a chance to exert their power, if only for a brief time, and to affect their own destinies without adopting the labors or efforts of the working class. Participating in the rituals of courtship and accepting or rejecting proposals is perhaps the most active role that women are permitted to play in Emma’s world.
The Blinding Power of Imagination
The novel offers sharply critical illustrations of the ways in which personal biases or desires blind objective judgment. Emma cannot understand the motives that guide Mr. Elton’s behavior because she imagines that he is in love with Harriet. She later admits to herself that “[s]he had taken up the idea, she supposed, and made everything bend to it.” Meanwhile, Mr. Elton’s feelings for Emma cause him to mistake her behavior for encouragement. The generally infallible Mr. Knightley cannot form an unbiased judgment of Frank Churchill because he is jealous of Frank’s claim on Emma, and Emma speaks cruelly of Jane because her vanity makes her jealous of Jane’s accomplishments. Emma’s biases cause her to invent an attachment between Harriet and Frank and blind her to the fact that Harriet actually has feelings for Knightley. At the same time, Frank’s desire to use Emma as a screen for his real preference causes him to believe mistakenly that she is aware of the situation between him and Jane. The admirable, frequently ironic detachment of the narrator allows us to see many of these misunderstandings before the characters do, along with the humorous aspects of their behavior. And the plot is powered by a series of realizations that permit each character to make fuller, more objective judgments.
The Obstacles to Open Expression
The misunderstandings that permeate the novel are created, in part, by the conventions of social propriety. To differing degrees, characters are unable to express their feelings directly and openly, and their feelings are therefore mistaken. While the novel by no means suggests that the manners and rituals of social interaction should be eliminated, Austen implies that the overly clever, complex speech of Mr. Elton, Frank Churchill, and Emma deserves censure. She presents Mr. Martin’s natural, warm, and direct manner of expressing himself as preferable to Mr. Elton’s ostentatious and insincere style of complimenting people. Frank too possesses a talent for telling people exactly what they want to hear, and Knightley’s suspicions of Frank’s integrity are proven valid when it turns out that Frank has been misleading Highbury and hiding his true feelings for Jane. The cleverness of Frank’s and Emma’s banter gets them both into trouble by upsetting Jane, about whom Emma says indiscreet and unfair things. Emma and Frank’s flirting at the Box Hill party hurts both Knightley and Jane. Moreover, Emma forgets herself to the extent that she cruelly insults Miss Bates. Austen seems to prefer Knightley and Martin’s tactful tacitness to the sometimes overly gregarious commentary of Emma, Mr. Elton, and Frank, and, as a result, the author gives the latter characters’ contrived speech a misleading influence on the story as a whole.
Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes.
The main events of the novel take place during visits that the characters pay to each other. The frequency and length of visits between characters indicates the level of intimacy and attachment between them. Frank’s frequent visits to Hartfield show his relationship with Emma to be close, though in hindsight we recognize that Frank also continually finds excuses to visit Jane. Mr. Knightley’s constant presence at Hartfield indicates his affection and regard for Emma. Emma encourages Harriet to limit a visit with the Martin family to fifteen minutes, because such a short visit clearly indicates that any former interest has been lost. Emma is chastised for her failure to visit Miss Bates and Jane more often; when she takes steps to rectify this situation, she indicates a new concern for Miss Bates and a new regard for Jane.
More formal than visits, parties are organized around social conventions more than around individual attachments—Emma’s hosting a dinner party for Mrs. Elton, a woman she dislikes, exemplifies this characteristic. There are six important parties in the novel: the Christmas Eve party at Randalls, the dinner party at the Coles’, the dinner party given for Mrs. Elton, the dance at the Crown Inn, the morning party at Donwell Abbey, and the picnic at Box Hill. Each occasion provides the opportunity for social intrigue and misunderstandings, and for vanities to be satisfied and connections formed. Parties also give characters the chance to observe other people’s interactions. Knightley observes Emma’s behavior toward Frank and Frank’s behavior toward Jane. Parties are microcosms of the social interactions that make up the novel as a whole.
Much of the dialogue in Emma has double or even triple meanings, with different characters interpreting a single comment in different ways. Sometimes these double meanings are apparent to individual characters, and sometimes they are apparent only to the alert reader. For example, when Mr. Elton says of Emma’s portrait of Harriet, “I cannot keep my eyes from it,” he means to compliment Emma, but she thinks he is complimenting Harriet. When, during the scene in which Mr. Knightley proposes to Emma, Emma says, “I seem to have been doomed to blindness,” Knightley believes she speaks of her blindness to Frank’s love of Jane, but she actually refers to her blindness about her own feelings. One of our main tasks in reading the novel is to decode all of the subtexts underlying seemingly casual interactions, just as the main characters must. The novel concludes by unraveling the mystery behind who loves whom, which allows us to understand Austen’s subtext more fully.
Symbols are objects, characters, figures, or colors used to represent abstract ideas or concepts.
Also known as charades, riddles in the novel take the form of elaborate wordplay. They symbolize the pervasive subtexts that wait to be decoded in characters’ larger social interactions. In Chapter 9, Mr. Elton presents a riddle to Emma and Harriet. Emma decodes it immediately, as “courtship,” but she decodes it wrongly in the sense that she believes it is meant for Harriet rather than herself. This wordplay also makes an appearance during the Box Hill party, when Mr. Weston makes an acrostic for Emma.
The Word Game
Similar to the riddle, a word game is played in Chapter 41 between Emma, Frank, and Jane. It functions as a metaphor for the partial understandings and misunderstandings that exist among Emma, Frank, Jane, and Mr. Knightley. As Mr. Knightley looks on, Frank uses child’s blocks to create words for the ladies to decode, though these words mean different things to each of them. Frank makes the word “blunder,” which Jane understands as referring to a mistake he has just made, but whose meaning is opaque to Emma and Knightley. He then makes the word “Dixon,” which Emma understands as a joke on Jane, and which baffles Knightley. In truth, everyone “blunders” in different ways that evening, because no one possesses complete enough information to interpret correctly everything that is going on.
Tokens of Affection
A number of objects in the novel take on symbolic significance as tokens of affection. Mr. Elton frames Emma’s portrait of Harriet as a symbol of affection for her, though Emma misunderstands it as a symbol of affection for Harriet. Harriet keeps court plaster and a pencil stub as souvenirs of Mr. Elton. When the engagement between Jane and Frank is briefly called off, she returns his letters to symbolize her relinquishment of his affection.
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