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• W341997117 abstract "AS EMMA TRIES, for first time of many, to dissuade Harriet Smith from her interest in Robert Martin, she asks--with certain expectation of a negative--whether he is a 'man of information': 'He does not read?' Harriet's response, of course, is a muddle as she tries to validate her admiration for him while providing answer Miss Woodhouse requires: 'Oh, yes!--that is, no--I do not know--but I believe he has read a good deal--but not what you would think any thing of' (29). Robert Martin does read Agricultural Reports and some unidentified books that lie in window seat, as well as Vicar of Wakefield and selections from Elegant Extracts. He has not read--'never heard of'--Ann Radcliffe's 1791 Romance of Forest or Regina Maria Roche's 1796 Children of Abbey, works that begin to accrue significance as Emma determines to save Harriet from being 'confined to society of illiterate and vulgar all [her] life' (54). Explanatory Notes to Oxford World Classics edition of novel dismiss these novels as indicat[ing] limitations of Harriet's education and taste (Kinsley 441). But as Mr. Knightley and Mrs. Weston evaluate benefits of friendship between Emma and Harriet in terms of their 'inducement ... to read more' (36), novel calls attention not only to lists that Emma has been making since age of twelve but also to list of texts that both connect and divide inhabitants of Highbury. Mr. Knightley's definition of a 'course of steady reading' depends on 'industry and patience, and a subjection of fancy to understanding' (37), a task even more onerous than Harold Bloom's quest for wisdom through what he calls most healing of pleasures (19). Gothic novels Harriet defines as central and Mme. de Genlis's 1782 Adelaide and Theodore, which Emma mentions and which contains a Gothic interpolated narrative, represent a kind of imaginative experience that might seem inimical to world of Highbury, whether defined as pastoral or in terms of social change. Stephen Derry and Margaret Anne Doody have both discussed relationship between Emma and these two 1790s Gothics in terms of scenes and situations that Austen revitalized (Doody 361), and I have elsewhere looked at connection between Emma and major educational and narrative components of Genlis's 1782 Letters on Education. Though Austen does rework characters and scenes from these novels, here I want to consider how these Gothic works function in Emma to highlight construction and utility of narrative. These three works feature heroines defined by varying degrees of passivity, but in each case plot is structured by tension between confinement and flight, by threats from male and sexual desire as well as from uncontrolled desires of herself. Genlis's The History of Duchess of C--, written by herself comes in second volume of Adelaide and Theodore. Genlis's framing narrative, a courtship plot within an epistolary discourse on education, emphasizes inculcation of reason and knowledge through systematic instruction and continual surveillance in order to produce what Ellen Moers calls the educating heroine (214), a virtuous and accomplished woman ready to replicate that virtue and those accomplishments in her own children. Within that narrative, presented for Adelaide's benefit, is story of Duchess of C--, who escaped surveillance of her own mother, fell in love with a man not her husband, and was incarcerated by her husband for nine years in a sunless cavern until discovered and redeemed. Although, as Daniel Cottom suggests, Radcliffe's heroines live and move through world in a spotlighted circle of consciousness surrounded by a night in which memory and knowledge have no real power (65), in Romance of Forest, Adeline moves her from forest of Fontanville to Savoy, Nice, and Paris. …" @default.
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• W341997117 date "2003-01-01" @default.
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• W341997117 title "How to Read and Why: Emma's Gothic Mirrors" @default.
• W341997117 hasPublicationYear "2003" @default.
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