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A Need for Tenderness

Published online by Cambridge University Press:  02 April 2024

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It is sometimes felt that in her ironically sympathetic creation of Emma Woodhouse ‘whom no one but myself will much like’ Jane Austen deserves at least some of those strictures which see her books as damaged by the socially restrictive values of an upper middle-class point of view. It has been widely remarked that Miss Austen’s work suffers because of her cheerful acceptance of a class society, and, that, while it is true snobbery may be consistently ridiculed, her values and standards are, nevertheless, based on the assumption that social and economic inequality is a permanent characteristic of our imperfect world. As the twentieth century draws towards its close it seems that if this was Miss Austen’s opinion it is likely to be regarded as more intellectually respectable than has been the fashion for some time. In his sympathetic and perceptive essay on Emma Arnold Kettle argues that although the clarity of Jane Austen’s observation is matched by the precision of her social judgments — he sees her work as informed by ‘the delicate and unpretentious materialism of her outlook’ — there remains the important reservation that her vision is severely limited by her class background. Kettle asserts that although snobbery is held up to disdain Jane Austen’s characters never question the fundamental idea that ‘it is right and proper for a minority of the community to live at the expense of the majority’. He sees such criticism as justified not so much because Miss Austen failed to put forward a solution, but because she did not even notice the existence of a problem.

Type
Research Article
Copyright
Copyright © 1981 Provincial Council of the English Province of the Order of Preachers

References

1 Introduction to the English Novel, Arnold Kettle. Vol I Emma, pp 8698.Google Scholar

2 The Irresponsibility of Jane Austen, John Bayley. From Southam's Critical Essays on Jane Austen, pp 1–19.

3 Even if this is what Professor Trilling understands, there seems to be some error of judgment in speaking of Emma's behaviour as ‘contrived’. Few of Jane Austen's heroines are so organically inseparable from the development of the plot. Miss Dudley has observed in an unpublished essay:.

Jane Austen took her heroine, for the first time, as her dominant idea rather than in conjunction with her dominant idea.

4 The Humiliation of Emma Woodhouse, Mark Schorer. From Ian Watt's Jane Austen, pp 98–111.

5 Waiting on God, Simone Weil, p 84. Routledge & Kegan Paul Ltd. 1951.Google Scholar

6 Penguin English Library, 1966. p 111. Extensively quoted for a different purpose by Arnold Kettle.

7 Ibid, p 369.

8 Ibid. p. 300.

9 Ibid, p 445.