How is happiness conveyed in Jane Austen’s Emma and Charlotte Bronte’s Villette?

The ordinal century was an era of great disco very, aim and social change as a result of political unrest in the previous age. The Ameri piece of ass Revolution which culminated in the United States Declaration of Indep arrestence, lead to a change in political thought, delivery ideas of Life, Liberty and the Pursuit of Happiness (1776 line4), though how very much this extended to women is debate sufficient. Published thirty-seven age apart, Emma and Villette tell the stories of 2 girls leave-takingning to beat joy in difficult societies.The devil lead records atomic number 18 very contrasting Emma is a respected, wealthy and attractive progeny cleaning lady yet rather spoilt, whitheras Lucy S at one timee is supine and secretive, with no signifi great dealt amount of bullion or family connections. Living in the aforementi unrivalledd(prenominal) century, thitherfore, it would makem safe to assume that the girls would start happiness in the aforementi stard(pre nominal) things imprecatey ships company, money and a felicitous marriage. As Philip Davis argues, Victorian tonics (though Emma predates Victorias reign by well-nigh twenty years) were concerned still with Humanity, Duty, Vocation, Work, trade union and Family (20022).How incessantly, this is non the case for either of the girls. Lucy grows harbor in solitude and any(prenominal) of the passages in Brontes novel where she is close at sculptural relief are those in which she is alone. If not alone, Lucy prefers the company of just one or two trusted friends, notwithstanding even this is problematical, as she lots hides her feelings from the indorser. Emma on the other hand, appears to retire pleasure in religious serviceing others to be prosperous often to their detriment What endure be said, nonetheless, is that both novels convey incorrupt journeys towards a greater understanding of self and society.By imagineing at a few specific incidents in individu only y novel, the methods with which the authors explore the feeling of happiness can be uncovered. Emma Woodho drill, handsome, clever, and rich, with a relieveable hearthstone and skilful disposition, seemed to unite some of the best(p) blessings of existence and had lived nearly twenty-one years in the gentlemans gentleman with very flyspeck to distress or vex her (Emma p. 5). The spread sentence of Jane Austens novel manages to summarise Emmas business office and history in a few simple words.The indorser is already communicate by the omniscient narrator that this primal character is content and privileged in every aspect that a four-year-old lady could wish for. In comparison, Villette has a very distinct approach. For example, it is not until the secondment chapter that we find out the name of the helper and narrator, Lucy S at one timee. Interesting to note also that the prototypic two chapters are names of characters, Bretton and capital of Minnesotaina, as if the narrator is happy to talk more(prenominal) or less them, exactly reluctant to talk nigh herself.We hear near the people adjoin the narrator, events in the past solely very pocket-sized physical or lineament detail. We are given few clues as to how Lucy feels or thinks about these events well I liked the visit (Villette p. 1) is the only indication of option or opinion. Even by the end of the novel we do not sack out where her home was, and Lucy is unvariedly evasive about places and locations. The reader is left to speculate why this is because of lugubriousness there and desire to forget it? Or perhaps she is ashamed?It is almost as if she does not trust the reader and as a result becomes difficult to like. intimately readers provideing assume that this past, of which Lucy is so vague, holds expectant memories or experiences which set the tone of her character from the start. As a narrator, Lucy is unreliable and the divine revelation that Dr. John and Graham Bre tton are, in fact, the same people, is the prime example of this. I low recognized him on that occasion, noted some(prenominal) chapters bet on, when my unguardedly-fixed attention had drawn me on the discomposure of an implied rebuke (Villette p. 70-1). Only when the reader will find out for themselves, does Lucy tell us that she knew all a abundant. I had preferred to wait the issuing to myself she reasons, I liked entering his posture covered with a cloud he had not seen through with(predicate) with(predicate) (Villette p. 171). This motif of hiding, or existence screened, recurs throughout the novel. Lucy is often seen observing or people watching, preferring to be out of the limelight. However, this changes when she is recruited to be in M. capital of Minnesotas play later one of the lead characters falls ill.Nevertheless, she puts on a performance, a mask, and is not herself. The clothes she wears are mens and by calling other persons lines, Lucy distances herself from that which makes her feel so uncomfortable, her own feelings. It seems as if she is afraid to admit to herself how she feels. By suppressing her emotions and support an almost muted look, Lucy denies herself happiness. This alienation is heightened by her being in Belgium, where she does not speak French initially, by being a Protestant in a Catholic society and through the atmosphere of the Mme.Becks school. disrespect working very closely with the headmistress, Lucy unsounded finds her searching through her be dourings one evening, showing a lack of trust between the characters. Lucys narrative expressive style shows a lot about her unhappiness as a character and surprisingly Emma shares some of these traits. Emma is told through a third-person omniscient narrator, whereas Lucy tells us the story through her own, if somewhat hold in perspective.Austens narrator gives us a wider arithmetic mean on the events at Highbury, although the free-indirect style meaning that t he narrators opinions are sometimes blurred with those of the characters and there is some mimicry of Emmas thoughts and tone. She is a more open character, whom the narrator can considerably display to the reader, and her feelings are more advantageously accessible, on first impression. As Emma is already handsome, clever and rich (Emma p. 1), her happiness is taken for granted, exactly looking a little deeper it is apparent that she is not aboundingy content.The novel is base around a series of shocks for Emma run away Taylors marriage, Mr. Eltons proposal, Frank and Janes engagement, and she seems in a invariant struggle to primary(prenominal)tain a sealed(a) decorum and propriety. It is ironic that Jane Austens novels are so often seen as portrayals of a stagnant society, when Highbury is full of entrances and exits Mrs. Elton, Frank Churchill, Jane Fairfax and Harriet. The proximity to London, peculiarly, does not seem to get under ones skin an effect on the communi ty. Emmas constant need to help others could be interpreted as dissatisfaction within herself. quite of realising her feelings for Mr. chivalric at the beginning of the novel, as so easily could earn occurred, Emma goes through systematic pairing up of her acquaintances, to try and arrange as many couples as possible. It is only when Harriet confides in her regarding her own feelings for gallant that Emma is forced to identify and take up her accompaniment to him. Because she demands a kind of variety and fermentation look cannot supply, Emma allows her fancy and imagination to frame and distort her perception of reality . What Emma eer desires and frequently demands is not simply that her world admire her it must also be as rich and vital and graceful as she feels herself potentially to be . The crux of the matter of the matter, then, is the peculiar way in which Emmas life depends upon and is dedicated to richness and beauty in human experience. (Minter 1966 51) Minter argues that Emma relies on this constant application of herself to try and adapt her surroundings to suit her. In doing this, Emma is attempting to create an environment in which she is truly comfortable not a trait one would follower with a young lady of happy disposition (Emma p. ), but more with slightly sickening and compulsive behaviour. It is as if Emma must have control of the events around her to feel content. This shows a certain extent of self-consciousness and dissatisfaction, reflected most clearly in her thoughts of Jane Fairfax Why she did not like Jane Fairfax might be a difficult question to answer Mr Knightly had once told her it was because she saw in her the truly accomplished young woman, which she wanted to be thought herself. (Emma p. 125)View in this manner, Emma becomes, in essence, a structured action in which Jane Austen renders both the nobility and the dangers, the significance and the consequences of Emmas es judge to force an aesthetic ideal upon her world (Minter 1966 51). As a character, Lucy Snowe is built up in a different way by Charlotte Bronte than Emma is by Jane Austen. By looking at their happiest and low points in each text, the reader has an insight into their extremes of emotion, and how these are created by the authors. Lucy characterises her weakest moments by images of storms and storms.This occurs several times throughout the novel and blurs the situations which Lucy does not want the reader to agnise or understand fully, perhaps because she does not understand herself. This is first seen upon Lucys departure from Bretton I must have somehow travel overboard, or that there must have been wreck at last (Villette p. 30). It is not certain whether Lucy actually embarks on a gravy boat journey or whether she just uses this as an extended metaphor. Bronte adds the scream of the Banshee to lay out the coming of bad news scarper Marchmont dies and leaves Lucy with little money.However, the worst for Lucy pe rsonally is arguably the fall headlong down an abyss (Villette p. 160) after her visit to the church. She has been ill for a long while and her soul leaves her body hoping to leave for rest (Villette p. 160). The reunion of the two is a particularly painful image, a frame of racking struggle, with pain, with reluctance (Villette p. 161). Villettes final chapter is the most equivocal sequence of the whole text, in which Lucy almost leaves the conclusion of the novel down to the reader. Reader, they were the one-third happiest years of my life.Do you scout the riddle? Listen (Villette p. 488), she appeals to us. Whether M. Paul is killed in a tempest on his return is not overtly stated, though the image of the storm once again would imply that he does. If the past triplet years were the happiest, then it follows that these are now unhappy times. As with the beginning of the novel, Lucy finishes by telling us what happened to other characters, but not herself Madame Beck prospered all the days of her life so did Pire Silas Madame Walravens fulfilled her ninetieth year before she died.Farewell (Villette p. 491). With a similar style of description and attitude, it is as if Lucy Snowe has come full circle she is just as happy at the end of the novel, as at the start, or there seems no obtrusive difference. Victor Hugo wrote in Les Miserables that lifes greatest happiness is to be convinced we are loved (1862) and it is this conception that gives Lucy the highest moment in Villette. She says that her love for M. Paul gave me much(prenominal) pleasure as, certainly, I had ever felt (Villette p. 403). Emmas happiest moment comes with similar thoughts on Mr.Knightley, but also a revelation about herself and her own actions How long had Mr. Knightley been so dearly to her, as every feeling now declared him now to be? When had his influence, such influence begun? (Emma p. 312). This sequence comes with a long set of rhetorical questions in which Emma begins to s ee her flaws perhaps this is the ultimate happiness for her? Mahatma Ghandi is often famously quoted as saying, Happiness is when what you think, what you say and what you do are in harmony1 and this can be seen clearly in the closedown chapters of Emma.Finally Emma is settled in herself knows how she feels, is able to talk openly and does, of course, eventually splice Mr. Knightley. What totally different feelings did Emma take back into the house from what she had brought out she had then been only daring to hope for a little respite of suffering now in an exquisite flutter of happiness and such happiness, moreover, as she believed must still be greater when the flutter should have passed away. (Emma p. 328) Emmas reception is markedly different from Lucys. Her language is more descriptive and appears fast, almost as if she cannot keep up with what her mind is thinking.The narrator here sounds just like the character of Emma, utter rapidly with the use of many ecphonesis m arks. Lucy falters, questions M. Pauls affections and seems unsure of the situation. I was content, she states (Villette p. 403) compared to Emmas state of spirits (Emma p. 328). Emmas hardhearted comments to Miss Bates at the picnic however, blusher her in a very different light Ah Maam, but there whitethorn be a difficulty. Pardon me but you will be limited as to a number only cardinal at once (Emma p. 280).This can be seen as Emmas most unkind and lowest moment in the text, she had never been so depressed (Emma p. 284) it is a necessary addition that makes her realise how badly she has behaved, although requiring a little help from Mr. Knightley. Throughout Emma and Villette, Austen and Bronte shape their main characters with the use of these dramatic highs and lows, which alter their perceptions and also the readers perceptions of them. By using specifically chosen language, the feelings and emotions of Lucy Snowe and Emma Woodhouse are made apparent and so the reader can s hare in their satisfy and depression.Jane Austens novel appears overall a happier text, condescension the continual failings of Emmas matchmaking, and ends positively with both Emma and Harriet acquiring married, and Harriet discovering her parentage. Although their marriages are well paired, with men who will complete them, the reader cannot help inquiring whether marriage and money will endlessly create perfect happiness (Emma p. 367). Villette on the other hand, ends just as mournfully as it begins, with very little defined ending.It could be argued that Lucy Snowe finds an inner peace with herself, after enjoying triad happy years, despite not having M. Paul with her. Perhaps knowing she is loved is enough, and so with this and the solitary life which has given her comfort throughout the novel, Lucy can be settled. With her prosperous school as financial security, Lucy does not require anything more she has stability and security, that which she has lacked from a young age . Though the storm imagery, if consistent with the rest of Brontes novel, indicates further change, we are not given any clues as to how this will transpire.With so many novels of this era, both Emma and Villette look at the difficulty of a woman finding true happiness in such a patriarchal society. Kate Millett argued that Villette was likewise subversive to be popular (1977140), accurate considering the consistency of many novels of the time. Emma, for example, still allows a happy ending and a marriage, despite the main characters actions throughout. In creating this alternative style, Charlotte Bronte shows happiness through a perhaps more real perspective, rather than Austens romanticised, happily-ever-after story.