Emma: Setting and world
13 lenses on setting and world for Emma by Jane Austen. Count lenses are exact for our text. AI lenses are our reading and cite only quotes that passed a word for word check.
Jump to: I1 I2 I3 I4 I5 I6 I7 I8 I9 I10 I11 I12 I13
I1. Places named and how often each appears. Count
Hartfield is the place named most, 160 times.
| Place | Mentions | Chapters |
|---|---|---|
| Hartfield | 160 | 48 |
| Highbury | 125 | 40 |
| Randalls | 90 | 34 |
| Enscombe | 36 | 16 |
| Maple Grove | 31 | 12 |
| Bath | 21 | 9 |
| Box Hill | 18 | 8 |
| Weymouth | 17 | 11 |
| Richmond | 13 | 7 |
| Donwell Abbey | 9 | 7 |
| Abbey-Mill | 7 | 3 |
| Crown Inn | 2 | 2 |
I2. Setting by chapter, as a map. Both
The place named most in each chapter. A rough setting map. (rough estimate from word lists)
| Chapter | Place named most |
|---|---|
| 1 | Hartfield |
| 2 | Highbury |
| 3 | Highbury |
| 4 | Hartfield |
| 5 | Hartfield |
| 6 | Hartfield |
| 7 | Hartfield |
| 8 | Highbury |
| 9 | Hartfield |
| 10 | Highbury |
| 11 | Hartfield |
| 12 | Hartfield |
| 13 | Hartfield |
| 14 | Enscombe |
Highbury is the fixed centre: Hartfield (Emma's home), Randalls (Westons), the Bates house, the Crown Inn. Donwell Abbey (Knightley's estate) appears late (c42). Box Hill is a day trip. Bath, London, Richmond, and Enscombe are distant places characters travel to or from. The novel rarely leaves Highbury's orbit.
Chapters: Ch 1, Ch 3, Ch 6, Ch 23, Ch 29, Ch 42
Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence (Ch 1, para 1)
Those soft blue eyes, and all those natural graces, should not be wasted on the inferior society of Highbury and its connexions. The acquaintance she had already formed were unworthy of her. (Ch 3, para 10)
she seldom went near them. But now she made the sudden resolution of not passing their door without going in (Ch 19, para 3)
I3. Setting shown in blocks or woven into action? AI
Setting is woven into action. Rooms and gardens emerge as characters move through them. The portrait-painting scene (c6) shows Hartfield's parlour through Emma's work. The Coles' dinner (c26) is sketched as guests arrive. Box Hill (c43) unfolds as the party climbs. Austen avoids static description.
Chapters: Ch 6, Ch 26, Ch 29, Ch 42, Ch 43
Those soft blue eyes, and all those natural graces, should not be wasted on the inferior society of Highbury and its connexions. The acquaintance she had already formed were unworthy of her. (Ch 3, para 10)
Emma perceived that the nature of his gallantry was a little self-willed, and that he would rather oppose than lose the pleasure of dancing with her; but she took the compliment, and forgave the rest. (Ch 29, para 19)
Ah! ma’am, but there may be a difficulty. Pardon me—but you will be limited as to number—only three at once. (Ch 43, para 26)
I4. Weather and light used for mood. Both
Weather and light words: 0.76 per 1,000 words.
Weather and light words, chapter by chapter
Weather signals emotional states. Snow at c15 traps characters and forces Elton's drunken declaration. Clear weather at c49 allows Knightley and Emma's proposal walk. Rain and cold keep characters indoors during tension. Sunshine marks happiness. Light and dark are used sparingly but pointedly for mood.
Chapters: Ch 15, Ch 42, Ch 49
Of all horrid things, leave-taking is the worst. (Ch 30, para 13)
She continued to look back, but in vain; and soon, with what appeared unusual speed, they were half way down the hill, and every thing left far behind. (Ch 43, para 62)
I5. The social world: class, money, rules. AI
Class and money structure every relationship. Emma is rich and clever; Harriet is poor and pretty; Robert Martin is a farmer (beneath Harriet in Emma's view). Jane Fairfax faces governess servitude. Mr. Elton marries Miss Hawkins for her wealth. Social rank determines who may marry whom and how characters are judged.
Chapters: Ch 3, Ch 4, Ch 7, Ch 8, Ch 20, Ch 21
A young farmer, whether on horseback or on foot, is the very last sort of person to raise my curiosity. The yeomanry are precisely the order of people with whom I feel I can have nothing to do. (Ch 4, para 14)
Not Harriet’s equal!” exclaimed Mr. Knightley loudly and warmly; and with calmer asperity, added, a few moments afterwards, “No, he is not her equal indeed, for he is as much her superior in sense as in situation. (Ch 8, para 38)
With the fortitude of a devoted novitiate, she had resolved at one-and-twenty to complete the sacrifice, and retire from all the pleasures of life (Ch 20, para 8)
I6. Rules of the world (magic, science) and when each is shown. AI
Not a feature of this book. Emma is a realistic novel of manners with no magic or science. Social rules are the only 'system' governing behaviour: who may visit whom, what marriages are suitable, how women must behave. These rules are shown through action, not explained.
I7. Lore: dripped in or dumped? AI
Lore is dripped in through dialogue and observation. Miss Bates's chatter reveals Highbury gossip. Letters carry news from distant places. The narrator provides historical background (Weston's rise, Jane's orphaning) in summary chapters. Austen avoids exposition dumps, preferring gradual revelation through character speech.
Chapters: Ch 2, Ch 19, Ch 20, Ch 27, Ch 28
it was written from Weymouth, and dated Sept. 28th—and began, ‘My dear Madam,’ but I forget how it went on; and it was signed ‘F. C. Weston Churchill. (Ch 11, para 25)
I had a letter from him this morning, and he will be with us within a fortnight. (Ch 14, para 7)
Jane Fairfax was an orphan, the only child of Mrs. Bates’s youngest daughter. (Ch 20, para 1)
I8. Real history used, and how. AI
No real history is used. The novel is set in a timeless Regency world without reference to Napoleonic wars or historical events. Austen focuses on private life and manners. The only 'history' is fictional: Weston's past marriage, Jane's orphaning, Frank's adoption by the Churchills.
Chapters: Ch 2, Ch 20
Mr. Weston was a native of Highbury, and born of a respectable family, which for the last two or three generations had been rising into gentility and property. (Ch 2, para 1)
Jane Fairfax was an orphan, the only child of Mrs. Bates’s youngest daughter. (Ch 20, para 1)
I9. Journeys: distance and time taken. Both
Journeys are brief and local. Frank travels to London for a haircut (c25), a day trip. He leaves for Enscombe (c30) and returns from Richmond (c37). Jane comes from the Campbells' home. Harriet visits the Martins' farm. Most action happens within Highbury; distant places are mentioned but rarely visited.
Chapters: Ch 25, Ch 30, Ch 37, Ch 39, Ch 42
There was certainly no harm in his travelling sixteen miles twice over on such an errand; but there was an air of foppery and nonsense in it which she could not approve. (Ch 25, para 1)
Of all horrid things, leave-taking is the worst. (Ch 30, para 13)
Well, he is coming, you see; good news, I think. Well, what do you say to it?—I always told you he would be here again soon, did not I? (Ch 35, para 27)
I10. Objects that matter, where they appear. Both
letter is the object named most.
| Object | Mentions | Chapters |
|---|---|---|
| letter | 109 | 28 |
| pianoforte | 22 | 5 |
| charade | 21 | 2 |
| spectacles | 9 | 4 |
| court-plaister | 9 | 1 |
| portrait | 1 | 1 |
| penknife | 1 | 1 |
The portrait of Harriet (c6) matters: Elton's praise of it signals his false courtship. The pianoforte (c26 to 28) is a mystery that reveals Frank and Jane's secret engagement. Letters carry plot: Elton's charade (c9), Frank's explanations (c51), Robert Martin's proposal (c7). These objects embody hidden truths.
Chapters: Ch 6, Ch 7, Ch 9, Ch 26, Ch 28, Ch 51
What a precious deposit!” said he with a tender sigh, as he received it. (Ch 6, para 43)
Very well, Mr. Elton, very well indeed. I have read worse charades. Courtship—a very good hint. (Ch 9, para 22)
At this moment, an ingenious and animating suspicion entering Emma’s brain with regard to Jane Fairfax, this charming Mr. Dixon, and the not going to Ireland (Ch 19, para 21)
I11. Density of period detail. AI
Period detail is moderate. Austen mentions drawing, music, needlework, visiting, and letter-writing as female occupations. Carriages, servants, and estates mark class. Governess work is described as servitude. Food (gruel, strawberries) appears occasionally. The novel focuses on manners and feeling rather than material specifics.
Chapters: Ch 1, Ch 20, Ch 32, Ch 34, Ch 42
You must go to bed early, my dear—and I recommend a little gruel to you before you go.—You and I will have a nice basin of gruel together. (Ch 12, para 18)
With the fortitude of a devoted novitiate, she had resolved at one-and-twenty to complete the sacrifice, and retire from all the pleasures of life (Ch 20, para 8)
Offices for the sale—not quite of human flesh—but of human intellect. (Ch 35, para 13)
I12. Setting as an enemy. AI
Setting is never hostile. Highbury is comfortable and familiar. Weather occasionally inconveniences (snow, rain) but does not threaten. Donwell Abbey is pleasant. Box Hill is a pleasant outing that turns sour through Emma's behaviour, not the place itself. The world is benign; characters create their own difficulties.
Chapters: Ch 15, Ch 42, Ch 43
I13. Indoors against outdoors. Both
Indoor words outnumber outdoor words 362 to 101. (rough estimate from word lists)
Indoor share %, chapter by chapter
Indoors and outdoors are balanced. Parlours and drawing-rooms host conversation and observation. Gardens and walks allow private talk: Knightley proposes in the shrubbery (c49). The gypsy attack happens on the road (c39). Box Hill is outdoors but the cruelty happens there. Both spaces serve the plot equally.
Chapters: Ch 39, Ch 42, Ch 43, Ch 49
Harriet looked white and frightened, and he was trying to cheer her. (Ch 39, para 3)
She continued to look back, but in vain; and soon, with what appeared unusual speed, they were half way down the hill, and every thing left far behind. (Ch 43, para 62)
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