Emma (1816) is Jane Austen's most characteristic work. Convinced that she understands the world, Emma rules over her invalid father and the small social circle of Highbury with well-meaning tyranny. But she is highly fallible where love is concerned, and her failings there cause many misunderstandings - as well as giving the reader much enjoyment as order is restored. In her new introduction to this edition Terry Castle examines the pleasure given by Emma's reassuringly stable world and by its comedy, and examines the relationships, imagery, and continuing power of Austen's perhaps greatest novel.
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"I should like to see Emma in love, and in some doubt of return; it would do her good," remarks one of Jane Austen's characters in Emma.
Quick-witted, beautiful, headstrong and rich, Emma Woodhouse is inordinately fond of match-making select inhabitants of the village of Highbury, yet aloof and oblivious as to the question of whom she herself might marry. This paradox multiplies the intrigues and sparkling ironies of Jane Austen's masterpiece, her comedy of a sentimental education through which Emma discovers a capacity for love and marriage.
"On the face of it, the concern with love is just what makes any Austen novel likeable, accessible, among the friendliest of classics. Where Emma is concerned, it's also where the puzzles of this teasing novel begin . . . It is in Emma that Austen does most to release herself from the narrow preoccupation with romantic love that her plots seem to hold out to the reader. Emma is a very great novel, and a particularly intriguing one."
-from the Introduction by Marilyn Butler
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