MISS BATES AND EMMA'S REDEMPTION
Emma is able to excuse her manipulation of Harriet by citing her good
intentions, and she is able to hide behind Frank Churchill as she attacks Jane,
but Emma can offer no excuse for her deliberate and personal attack of Miss
Bates. While setting off on a
picnic, Emma and Miss Bates, among others, are in the midst of a light-hearted
and joyful discussion. Jokingly
encouraging all in the party to entertain Emma, Frank Churchill suggests that
each of the seven members must say to Emma “two things moderately clever-or
three things very dull indeed,” too which Miss Bates replies in a
self-deprecating way, “I shall be sure to say three dull things as soon as ever
I open my mouth” (Austen 347).
Austen writes of Emma’s response, “Emma could not resist.
‘Ah! Ma’am but there may be a difficulty.
Parton me – but you will be limited as to number – only three at once.’”
(Austen 347). With these words,
Emma has reaffirmed her bully status.
Not only is her attack unnecessary, but the victim is not deserving of
scorn. Miss Bates, although
annoying, is never malicious, her intentions are always kind and her demeanor is
always positive. Yet, as Austen
writes, Emma “could not resist” her attack.
Unlike the manipulation of Harriet, this attack does not involve good
intentions. The attack was mean,
hurtful, and affected Miss Bates greatly, “[Miss Bates] did not immediately
catch her meaning; but, when it burst on her, it could not anger, through a
slight blush showed that it could pain her” (Austen 347).
As Goodheart states, “Tact is a mark of social intelligence, and again
Emma fails the test” (Goodheart 590).
The attack of Miss Bates is wonderfully depicted in Director Douglas
McGrath’s 1996 film Emma.
As Miss Bates makes her self-deprecating remark she laughs heartily with
Mr. Knightly. Emma however, having
just been insulted by Mrs. Elton, attempts to raise her own spirits by stepping
on someone below her. Emma’s
comment is very painful, as we see the embarrassment written on the face of Miss
Bates. McGrath captures Emma
perfectly, as she realizes almost immediately that she has misspoken.
Like Austen’s novel, McGrath keeps the door open for forgiveness as
Emma’s remorse is clearly visible, and properly represents the wise Mr. Knightly
as he takes Miss Bates away to pick strawberries avoiding the awkward silence.
This scene once again shows Emma’s lack of maturity, and it is getting
hard to speak in her defense. But
just as before, when Emma is in need of social discipline, Knightly is more than
willing to step up to the plate.
Goodheart states, “Emma may know Miss Bates, but she seems too often not to know
herself” (Goodheart 592). Emma
indeed does not fully understand herself or her actions, and like a large
schoolyard bully picking on the kid who can’t defend himself, Emma insults Miss
Bates. It takes Knightly to
recognize this disparity before Emma is capable of feeling remorse.
Knightly states of Miss Bates, “She is poor; she has sunk from comforts
she was born to; and, if she live to old age, must probably sink more.
Her situation should secure your compassion” (Austen 351).
Emma grows immediately concerned, Austen writes, “[Knightly] had
misinterpreted the feelings which had kept her face averted, and her tongue
motionless. They were combined only
of anger against herself, mortification, and deep concern” (Austen 352).
Unlike Knightly’s lecture about Emma’s manipulation of Harriet, Emma does
not try to defend herself. The
moment has passed, and Emma knows she cannot take back her words.
This throws Emma into despair, and provides a “regeneration” of sorts
according to Shannon Jr., he writes, “In the beginning, as every reader knows,
she is spoiled and conceited...Until the end of the morning at Box Hill, which
is the emotional climax of the book and the beginning of her regeneration”
(Shannon Jr. 638). Following her
incidents with Harriet and Jane Fairfax, Emma is no longer able to defend her
old habits. She recognizes the
mistake she has made, and most importantly she quickly feels remorse.
As Shannon Jr. writes, “The novelist has endowed Emma with good qualities
and has provided firm basis in her character for eventual redemption” (Shannon
Jr. 639). Austen always leaves the
door open for the audience to respond to Emma with favor.
Who among us has not said something we regret immediately?
Emma’s recognition of what she has done, combined with our approval of
Mr. Knightly allows, yet again, for Emma to be forgiven.
This, in essence, displays true growth through maturation.
As the novel closes, we care for Emma’s well-being, and we are comforted
in the fact that if Emma should slip up again Mr. Knightly will be there to set
her straight.