Jane Austen proposal scenes, part 4: Emma
Gwyneth Paltrow (Emma) and Jeremy Northam (Mr. Knightley) in Emma (1996)
Emma
Background to the proposal scene: In Emma the proposal scene is longer and more dialogic than in many other Austen novels. Partly this is because, as in Pride and Prejudice, there must be two éclaircissements. Emma fears that Mr. Knightley wants to tell her of his planned engagement to Harriet Smith, while Mr. Knightley fears that Emma wants to tell him of her unhappiness over Frank Churchill's marriage to another woman, Jane Fairfax. Unlike in Pride and Prejudice, though, the ground for a truer understanding between the lovers has not been prepared beforehand by others. In Emma they must flounder towards the recognition that they are each suffering under a misapprehension.
The film adaptation: screenplay and direction by Douglas McGrath (1996)
Even though the 1996 adaptation isn't our favorite (that honor belongs to the 2009 BBC adaptation written by Sandy Welch and directed by Jim O'Hanlon, with Romola Garai as Emma and Jonny Lee Miller as Mr. Knightley), I was surprised to see that it is relatively faithful to the novel. And it has an excellent Mr. Knightley in Jeremy Northam:
https://youtu.be/--Pkgs35eTE?t=128
The novel:
They walked together. He was silent. She thought he was often looking at her, and trying for a fuller view of her face than it suited her to give. And this belief produced another dread. Perhaps he wanted to speak to her, of his attachment to Harriet; he might be watching for encouragement to begin.—She did not, could not, feel equal to lead the way to any such subject. He must do it all himself. Yet she could not bear this silence. With him it was most unnatural. She considered—resolved—and, trying to smile, began—
"You have some news to hear, now you are come back, that will rather surprize you."
"Have I?" said he quietly, and looking at her; "of what nature?"
"Oh! the best nature in the world—a wedding."
After waiting a moment, as if to be sure she intended to say no more, he replied,
"If you mean Miss Fairfax and Frank Churchill, I have heard that already."
"How is it possible?" cried Emma, turning her glowing cheeks towards him; for, while she spoke, it occurred to her that he might have called at Mrs. Goddard's in his way.
"I had a few lines on parish business from Mr. Weston this morning, and at the end of them he gave me a brief account of what had happened."
Emma was quite relieved, and could presently say, with a little more composure,
"You probably have been less surprized than any of us, for you have had your suspicions.—I have not forgotten that you once tried to give me a caution.—I wish I had attended to it—but—(with a sinking voice and a heavy sigh) I seem to have been doomed to blindness."
For a moment or two nothing was said, and she was unsuspicious of having excited any particular interest, till she found her arm drawn within his, and pressed against his heart, and heard him thus saying, in a tone of great sensibility, speaking low,
"Time, my dearest Emma, time will heal the wound.—Your own excellent sense—your exertions for your father's sake—I know you will not allow yourself—." Her arm was pressed again, as he added, in a more broken and subdued accent, "The feelings of the warmest friendship—Indignation—Abominable scoundrel!"—And in a louder, steadier tone, he concluded with, "He will soon be gone. They will soon be in Yorkshire. I am sorry for her. She deserves a better fate."
Emma understood him; and as soon as she could recover from the flutter of pleasure, excited by such tender consideration, replied,
"You are very kind—but you are mistaken—and I must set you right.— I am not in want of that sort of compassion. My blindness to what was going on, led me to act by them in a way that I must always be ashamed of, and I was very foolishly tempted to say and do many things which may well lay me open to unpleasant conjectures, but I have no other reason to regret that I was not in the secret earlier."
"Emma!" cried he, looking eagerly at her, "are you, indeed?"—but checking himself—"No, no, I understand you—forgive me—I am pleased that you can say even so much.—He is no object of regret, indeed! and it will not be very long, I hope, before that becomes the acknowledgment of more than your reason.—Fortunate that your affections were not farther entangled!—I could never, I confess, from your manners, assure myself as to the degree of what you felt—I could only be certain that there was a preference—and a preference which I never believed him to deserve.—He is a disgrace to the name of man.—And is he to be rewarded with that sweet young woman?—Jane, Jane, you will be a miserable creature."
"Mr. Knightley," said Emma, trying to be lively, but really confused—"I am in a very extraordinary situation. I cannot let you continue in your error; and yet, perhaps, since my manners gave such an impression, I have as much reason to be ashamed of confessing that I never have been at all attached to the person we are speaking of, as it might be natural for a woman to feel in confessing exactly the reverse.—But I never have."
He listened in perfect silence. She wished him to speak, but he would not. She supposed she must say more before she were entitled to his clemency; but it was a hard case to be obliged still to lower herself in his opinion. She went on, however.
"I have very little to say for my own conduct.—I was tempted by his attentions, and allowed myself to appear pleased.—. . .my vanity was flattered, and I allowed his attentions. Latterly, however—for some time, indeed—I have had no idea of their meaning any thing.—I thought them a habit, a trick, nothing that called for seriousness on my side. He has imposed on me, but he has not injured me. I have never been attached to him. And now I can tolerably comprehend his behaviour. He never wished to attach me. It was merely a blind to conceal his real situation with another.—It was his object to blind all about him; and no one, I am sure, could be more effectually blinded than myself—except that I was not blinded—that it was my good fortune—that, in short, I was somehow or other safe from him."
She had hoped for an answer here—for a few words to say that her conduct was at least intelligible; but he was silent; and, as far as she could judge, deep in thought. At last, and tolerably in his usual tone, he said,
". . .Frank Churchill is, indeed, the favourite of fortune. Every thing turns out for his good.—He meets with a young woman at a watering-place, gains her affection, cannot even weary her by negligent treatment—and had he and all his family sought round the world for a perfect wife for him, they could not have found her superior.—His aunt is in the way.—His aunt dies.—He has only to speak.—His friends are eager to promote his happiness.—He had used every body ill—and they are all delighted to forgive him.—He is a fortunate man indeed!""You speak as if you envied him."
"And I do envy him, Emma. In one respect he is the object of my envy."
Emma could say no more. They seemed to be within half a sentence of Harriet, and her immediate feeling was to avert the subject, if possible. She made her plan; she would speak of something totally different—the children in Brunswick Square; and she only waited for breath to begin, when Mr. Knightley startled her, by saying,
"You will not ask me what is the point of envy.—You are determined, I see, to have no curiosity.—You are wise—but I cannot be wise. Emma, I must tell you what you will not ask, though I may wish it unsaid the next moment."
"Oh! then, don't speak it, don't speak it," she eagerly cried. "Take a little time, consider, do not commit yourself."
"Thank you," said he, in an accent of deep mortification, and not another syllable followed.
Emma could not bear to give him pain. He was wishing to confide in her—perhaps to consult her;—cost her what it would, she would listen. She might assist his resolution, or reconcile him to it; she might give just praise to Harriet, or, by representing to him his own independence, relieve him from that state of indecision, which must be more intolerable than any alternative to such a mind as his.—They had reached the house.
"You are going in, I suppose?" said he.
"No,"—replied Emma—quite confirmed by the depressed manner in which he still spoke—"I should like to take another turn. Mr. Perry is not gone." And, after proceeding a few steps, she added—"I stopped you ungraciously, just now, Mr. Knightley, and, I am afraid, gave you pain.—But if you have any wish to speak openly to me as a friend, or to ask my opinion of any thing that you may have in contemplation—as a friend, indeed, you may command me.—I will hear whatever you like. I will tell you exactly what I think."
"As a friend!"—repeated Mr. Knightley.—"Emma, that I fear is a word—No, I have no wish—Stay, yes, why should I hesitate?—I have gone too far already for concealment.—Emma, I accept your offer—Extraordinary as it may seem, I accept it, and refer myself to you as a friend.—Tell me, then, have I no chance of ever succeeding?"
He stopped in his earnestness to look the question, and the expression of his eyes overpowered her.
"He stopped to look the question." Illustration by Hugh Thomson for Emma (Macmillan, 1897). Image source: HathiTrust.org
"My dearest Emma," said he, "for dearest you will always be, whatever the event of this hour's conversation, my dearest, most beloved Emma—tell me at once. Say 'No,' if it is to be said."—She could really say nothing.—"You are silent," he cried, with great animation; "absolutely silent! at present I ask no more."
Emma was almost ready to sink under the agitation of this moment. The dread of being awakened from the happiest dream, was perhaps the most prominent feeling.
"'Say "No" if it is to be said.' She could really say nothing." Illustration by Chris[tiana] Hammond for Emma (George Allen, 1898). Imge source: Wikimedia Commons
This is where the screenplay diverges from Austen's novel. In the novel Mr. Knightley says "I. . .refer myself to you as a friend." In the film he says, "I do not wish to call you my friend because. . .I hope to call you something infinitely more dear." In the novel he goes on:
"I cannot make speeches, Emma:" he soon resumed; and in a tone of such sincere, decided, intelligible tenderness as was tolerably convincing.—"If I loved you less, I might be able to talk about it more. But you know what I am.—You hear nothing but truth from me.—I have blamed you, and lectured you, and you have borne it as no other woman in England would have borne it.—Bear with the truths I would tell you now, dearest Emma, as well as you have borne with them. The manner, perhaps, may have as little to recommend them. God knows, I have been a very indifferent lover.—But you understand me.—Yes, you see, you understand my feelings—and will return them if you can. At present, I ask only to hear, once to hear your voice."
Austen, of course, is having a little joke here. Mr. Knightley says "I cannot make speeches"—and then launches into a speech (as he has done throughout the novel). Intriguingly, as soon as he says "I ask only to hear, once to hear your voice," Austen provides no more direct speech:
While he spoke, Emma's mind was most busy, and, with all the wonderful velocity of thought, had been able—and yet without losing a word—to catch and comprehend the exact truth of the whole; to see that Harriet's hopes had been entirely groundless, a mistake, a delusion, as complete a delusion as any of her own—that Harriet was nothing; that she was every thing herself; that what she had been saying relative to Harriet had been all taken as the language of her own feelings; and that her agitation, her doubts, her reluctance, her discouragement, had been all received as discouragement from herself. . .Her way was clear, though not quite smooth.—She spoke then, on being so entreated.—What did she say?—Just what she ought, of course. A lady always does.—She said enough to shew there need not be despair—and to invite him to say more himself.
In the novel Emma says "just what she ought. A lady always does." But she does not immediately accept him; rather, she says only enough "to shew there need not be despair—and to invite him to say more himself." In the film, Mr. Knightley goes on to explain his aversion to Frank Churchill, material drawn from somewhat further on in the scene in the novel:
—On his side, there had been a long-standing jealousy, old as the arrival, or even the expectation, of Frank Churchill.—He had been in love with Emma, and jealous of Frank Churchill, from about the same period, one sentiment having probably enlightened him as to the other. It was his jealousy of Frank Churchill that had taken him from the country.—The Box Hill party had decided him on going away. He would save himself from witnessing again such permitted, encouraged attentions.—He had gone to learn to be indifferent.—But he had gone to a wrong place. There was too much domestic happiness in his brother's house; woman wore too amiable a form in it; Isabella was too much like Emma—differing only in those striking inferiorities, which always brought the other in brilliancy before him, for much to have been done, even had his time been longer.—He had stayed on, however, vigorously, day after day—till this very morning's post had conveyed the history of Jane Fairfax.—Then, with the gladness which must be felt, nay, which he did not scruple to feel, having never believed Frank Churchill to be at all deserving Emma, was there so much fond solicitude, so much keen anxiety for her, that he could stay no longer. He had ridden home through the rain; and had walked up directly after dinner, to see how this sweetest and best of all creatures, faultless in spite of all her faults, bore the discovery.
In the film, of course, after his somewhat sheepish confession of jealousy comes the proposal and acceptance. In the novel, after she has invited Mr. Knightley to say more, it is soon clear that Emma returns his feelings and accepts his offer. We never see or hear her acceptance, however, only its effects:
. . .he had only, in the momentary conquest of eagerness over judgment, aspired to be told that she did not forbid his attempt to attach her.—The superior hopes which gradually opened were so much the more enchanting.—The affection, which he had been asking to be allowed to create, if he could, was already his!—Within half an hour, he had passed from a thoroughly distressed state of mind, to something so like perfect happiness, that it could bear no other name.
Her change was equal.—This one half-hour had given to each the same precious certainty of being beloved, had cleared from each the same degree of ignorance, jealousy, or distrust. . .She was his own Emma, by hand and word, when they returned into the house; and if he could have thought of Frank Churchill then, he might have deemed him a very good sort of fellow.
Once again, Austen has shifted into the third person at the moment of the proposal, and denies us even a description of Emma's acceptance. But this is yet more evidence that for her, the crucial moment is actually the éclaircissement, rather than the proposal itself.
Emma is notable in the Austen canon in the placement of its proposal scene. Just as a proposal and acceptance follow an éclaircissement as a matter of course, the end of a novel generally follows a proposal. In Mansfield Park the proposal occurs in the final chapter, and the novel ends two pages later. In Sense and Sensibility, Northanger Abbey, and Persuasion, the proposal occurs in the next-to-last chapter, and the novel ends 19, 9, and 12 pages later, respectively. In Pride and Prejudice, it's true that the proposal occurs in the fourth chapter from the end, but those four chapters are short: Darcy tells Elizabeth that "My affections and wishes are unchanged" on page 366, and the novel ends 22 pages later. However, after Emma and Mr. Knightley return to the house betrothed, Emma doesn't end for another six chapters and 51 pages (all page counts taken from R.W. Chapman's editions). This reflects the novel's complexity: there are three couples with past mistakes to explain and futures to be sorted out, rather than one or two, before Emma and Mr. Knightley can enjoy their "perfect happiness."
"The wedding was very much like other weddings." Illustration by Chris Hammond for Emma (George Allen, 1898). Image source: Wikimedia Commons
For more on the novel, please see "Emma and the fate of unmarried women"
Next time: Northanger Abbey
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