MANIPULATION OF HARRIET SMITH
The
duplicitous side of Emma Woodhouse is on full display from the very beginning of
Jane Austen’s novel. After claiming
success in the completion of her scheme to unite Miss Taylor with Mr. Weston,
Emma is in search of a new project, and she finds the perfect specimen in the
young, naïve, and lower class Harriet Smith.
Emma judges Harriet, deeming her life unsuitable, and takes it upon
herself to make a change, “She would
notice [Harriet]; she would improve her; she would detach her from her bad
acquaintance, and introduce her into good society; she would form her opinions
and her manners” (Austen 24).
Pompous and perhaps ignorant, Emma seeks to control the life of Harriet Smith,
and this control displays Emma’s duplicity.
On the one hand, Emma is seeking to improve Harriet’s life by raising her
social status to a higher, more luxurious station.
This is very insulting to Harriet, but the intentions, although ignorant,
are not malicious. On the other hand
however, Emma is clearly taking control of Harriet’s life without regard for
Harriet’s wellbeing. Emma has
determined that her elite lifestyle is ideal, and all those who fall beneath her
must aspire to reach her level. This
control continues, as the “superior” Emma Woodhouse determines that Mr. Martin
is not the right man for Harriet.
Gullible and sweet, young Harriet Smith is easily snared in Emma’s web.
However, her new project encounters an obstacle in the form of the low
class farmer Mr. Martin. Harriet’s
love for Mr. Martin is evident, but Emma cannot allow her new found friend to
marry such a low class man.
Displaying both her wit and malevolence, Emma carefully manipulates Harriet,
easing her out of the plan to woo Mr. Martin, and filling Harriet with her own
sense of superiority. Emma states,
“The misfortune of your birth ought to make you particularly careful as to your
associates” (Austen 30). By knocking Harriet down with this sharp comment, Emma
can now rebuild Harriet to her satisfaction.
Emma continues, “There can be no doubt of your being a gentleman’s
daughter, and you must support your claim to that station by everything within
your own power” (Austen 30). Emma,
beginning to rebuild, instills in Harriet a false sense of superiority, raising
Harriet to a higher class than she belongs.
Emma concludes, “Or there will be plenty of people who would take
pleasure in degrading you” (Austen 30).
Emma’s manipulation fills this sentence as she tries to place herself in
the role of protector, but as we can see Emma is the only one dishing out
degradation. A bit later Harriet’s
attention is captured by a letter of proposal from Mr. Martin.
Emma, in belief that she had rid of Mr. Martin for good, quickly decides
to put a stop to this flirtatious affair.
In a heinous act, Emma degrades Mr. Martin’s letter claiming, “I think
one of his sisters must have helped him,” because the letter itself is too well
written (Austen 50). Emma speaks insults
towards Mr. Martin so confidently that when Harriet asks if indeed she should
refuse him Emma responds with shock, she replies, “Ought to refuse him!
My dear Harriet, what do you mean?
Are you in any doubt as to that?” (Austen 51).
This manipulation gives Harriet no way out, and she now must refuse Mr.
Martin or suffer the ire of her “superior” friend and supposed mentor Emma
Woodhouse.
Eugene Goodheart, author of “Emma:
Jane Austen’s Errant Heroine,” agrees that Emma is too egotistical to realize
why she is degrading Robert Martin.
He states, “Emma’s snobbery prevents her from appreciating [Robert Martin’s]
virtues. Her intervention delays
what turns out to be the right outcome, a marriage between Robert Martin and
Harriet” (Goodheart 590). Indeed
Emma does nothing but delay the inevitable, Mr. Martin and Harriet wed, and in
no way does Emma benefit their relationship.
Unlike Emma’s decision to raise Harriet’s social class, her denouncement
of Mr. Martin is malicious. She
knows that Harriet will be hurt by her words, yet she chooses them carefully
then attacks. With Harriet in a
vulnerable position, Emma is not yet finished.
She has not only relieved young Harriet of her previous crush, but she
now has a replacement suitor lying in wait.
Austen writes of Emma’s plan to delete Mr. Martin from the mind of Harriet
Smith, “Mr. Elton was the very person fixed on by Emma for driving the young
farmer out of Harriet’s head. She
thought it would be an excellent match; and only too palpably desirable,
natural, and probable, for her to have much merit in planning it” (Austen 34).
Without consulting the feelings of Harriet, Emma is looking for her own
satisfaction as she tries to force a union between two people unfit for one
another. This leads to chaos, as
Emma is not in full control of the situation.
The malleable Harriet falls for Mr. Elton, but it becomes clear that
Harriet’s heart will be broken when Mr. Elton advances not towards her but Emma
instead. Emma states to Harriet,
“You are his object-and you will soon receive the completest proof of it…I
congratulate you, my dear Harriet, with all my heart.
This is an attachment which a woman may well feel pride in creating.
This is a connection which offers nothing but good” (Austen 72).
Again, Emma’s two sides are on display.
She is naively under the impression that Mr. Elton is in love with
Harriet, and in fact her congratulation is sincere.
Shinobu Minma, author of “Self-Deception and Superiority Complex:
Derangement of Hierarchy in Jane Austen’s
Emma,” agrees with this defense as he
writes, “In her officious efforts to make a match between Harriet and Elton,
Emma persuades herself into believing that she is acting for Harriet’s sake”
(Minma 50). Emma truly believes that
she is assisting Harriet, but she does not fully understand the extent of her
actions. That being said, Emma is
very proud of herself and, basking in the glow of her own success, she fails to
recognize the reality of the situation she has created.
This allows critics to focus more on her arrogance than her good
intentions, but those intentions should not be overlooked.
INTRODUCTION/ CONCLUSION BACK TO ESSAY EMMA'S MISTAKES AND KNIGHTLY'S VOICE