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Jane Austen, whom some critics consider England’s best novelist, was born in 1775 in Steventon, England. The seventh of eight children, Austen lived with her parents for her entire life, first in Steventon and later in Bath, Southampton, and Chawton. Her father was the parish rector in Steventon, and, though not wealthy, her family was well connected and well educated. Austen briefly attended boarding school in Reading but received the majority of her education at home. According to rumor, she had a brief love affair when she was twenty-five, but it did not lead to a marriage proposal. Two years later she accepted and then quickly rejected a proposal. She remained unmarried for the rest of her life. Austen died in 1817, at age forty-one, of Addison’s disease.
Austen began writing stories at a very young age and completed her first novel in her early twenties. However, she did not publish until 1811, when Sense and Sensibility appeared anonymously It was followed by Pride and Prejudice in 1813 and Mansfield Park in 1814. Emma, which appeared in 1816, was the last novel published during Austen’s lifetime. Two other Austen novels–Northanger Abbey and Persuasion–were published posthumously.
Austen’s novels received little critical or popular recognition during her lifetime, and her identity as a novelist was not revealed until after her death. As admired as Austen’s novels later became, critics have had a difficult time placing them within literary history. She is known for her gently satirical portraits of village life and of the rituals of courtship and marriage, but she wrote during the Romantic period, when most major writers were concerned with a very different set of interests and values. Romantic poets confronted the hopes and failures of the French Revolution and formulated new literary values centered on individual freedom, passion, and intensity. In comparison, Austen’s detailed examination of the rules of decorum that govern social relationships, and her insistence that reason and moderation are necessary checks on feeling, make her seem out of step with the literary times. One way to understand Austen’s place in literary history is to think of her as part of the earlier 18th century, the Age of Reason, when literature was associated with wit, poise, and propriety. Her novels certainly belong to an 18th-century genre, the comedy of manners, which examines the behavior of men and women of a single social class.
Rather than dismiss Austen as a writer who shunned the artistic and political movements of her time, it is perhaps more useful to think of her as an early feminist. Critics have pointed out that the Romantics, who were almost exclusively male, offered a poor model of literary fulfillment for the ambitious woman of the time. While male writers such as Percy Bysshe Shelley and Lord Byron possessed the freedom to promote their own individuality through wide travel and sexual and military adventurism, women were largely denied these freedoms. For women, the penalty for sexual freedom was social ostracism, poverty, and worse. In Sense and Sensibility, Austen describes explicitly the danger that cultivating emotion posed for women of her time.
In this social context, Austen’s commitment to reason and moderation can be seen as feminist and progressive rather than conservative. The intelligence and resourcefulness of her heroines stand in constant contrast to the limits of the constricted world of courtship and marriage defining their sphere of action. While reading Emma it is interesting to consider to what extent Austen accepts or questions the idea that marriage represents a woman’s maturity and fulfillment.
Some consider Emma Austen’s best and most representative novel. It is also her longest novel, and by many accounts, her most difficult. Long praised for its rich domestic realism, Emma also presents puzzling questions: how can a character as intelligent as Emma be wrong so often? When does Austen expect us to sympathize with Emma, and when does she expect us to criticize her? Is the ending as genuinely happy as it is presented to be, or does Austen subtly inject a note of subversive irony into it? That these questions are on some level unanswerable ensures that Emma will be read again and again.