文献综述-浅析《爱玛》中社会阶级对婚姻观念的影响

外国文学研究ｏｄｅｒｎ　ｃｈｉｎｅｓｅＭ１２０ＸＩＡＮＤＡＩ　ＹＵＷＥＮ２０１０．０２美国当代著名文艺评论家埃德蒙・威尔逊曾赞叹，英国文学史上出现过几次趣味革命，　文学口味的翻新影响了几乎所有作家的声誉，唯独莎士比亚和简・奥斯丁经久不衰。

英国伟大文艺评论家利维斯在《伟大的传统》一书中指出，《爱玛》之所以会经久不衰的秘诀，不仅在于它是谋篇布局与生活之真的奇妙结合，而且在于它对于世人的道德教诲。

细察一下《爱玛》的完美形式便可以发现，道德关怀正是简・奥斯丁独特生活意趣的特点，而我们也只有从道德关怀的角度才能领会之。

婚姻与金钱是奥斯丁小说永恒的两大主题，小说围绕聪明漂亮的富家小姐爱玛乱点鸳鸯谱而展开，结果闹了很多荒诞的笑话。

她虽然没给别人撮合成一门亲事，但自己却坠入了情网，与奈特利先生喜结良缘，跟另外两对青年男女一起，构成了《爱玛》的喜剧结局。

本文试图运用文学伦理学批评理论，从作品中四对年轻人的婚恋情节入手，深入探讨奥斯丁在小说《爱玛》中所体现的婚姻伦理观。

一、传统的“门当户对”的婚姻伦理观在１８世纪末１９世纪初的英国，传统的“门当户对”婚姻伦理观主张理想的婚姻要有金钱作保障，要有相配的社会地位作陪衬，更提出了女性在才、貌、艺、礼等方面的苛刻要求。

正如小说中所说，“单身妇女，若收入微薄，当然令人耻笑，惹人讨厌，是儿童取笑的对象；单身妇女若有财产，总是令人尊敬的，而且完全可以做到通情达理，讨人喜欢。

”［１］没有财产的妇女只能通过婚姻，才能寻到出路，若要谋职，也就只能去当个家庭教师，而家庭教师也就相当于奴隶的地位。

简・费尔法克斯和弗兰克・丘吉尔的婚姻便是一个很好的范例。

在小说中简是费尔法克斯太太的养女，她漂亮、优雅、聪明，就像“房间里的天使”。

她“才艺模子”的形象更是赢得了一向判断准确的奈特利先生的赞美。

在简・奥斯丁的年代的伦理观念中，这样一个完美的女性形象具有嫁给一个好丈夫的优势。

然而，她最终却嫁给了自私自利、名声不好、道德不完美的弗兰克・丘吉尔。

历史背景分析：英国文化与传统与《爱玛》一、引言《爱玛》是英国著名作家简·奥斯汀（Jane Austen）创作的经典小说，该小说描绘了早19世纪英格兰社会的生活和人物性格。

要更好地理解这部作品，我们需要对当时的英国文化和传统有一定的了解。

本文将对英国文化与传统以及它们与《爱玛》之间的关系进行历史背景分析。

二、英国文化与传统概述1. 社会等级制度早19世纪的英格兰社会贯彻着强烈的社会等级观念。

上层阶级（贵族、乡绅）享有特权和权势，而下层阶级（农民、劳工）则处于较低地位。

这种社会结构在《爱玛》中也得到了体现，贵族和富裕家庭成为小说中主要角色的代表。

2. 家庭与婚姻观念英国社会非常重视家庭和婚姻。

合适的婚姻被看作是保持社会稳定和财产继承的重要手段。

父母通常为子女安排婚姻，尤其是在上层社会中。

这一传统在《爱玛》中也得到了充分展示，许多角色都被他们的家庭背景和相亲关系所束缚。

3. 社交礼仪与规范英国社交礼仪非常繁琐，人们注重维持一种优雅、有教养的形象。

特定的行为规范和举止成为社交场合不可或缺的一部分。

在《爱玛》中，人物之间的互动和交往方式反映了当时社会对于社交礼仪的高度重视。

三、英国文化与传统在《爱玛》中的体现1. 社会等级制度影响小说中的角色往往受到社会等级制度的限制。

贵族阶级享有特权和权势，如克里斯汀夫人（Mrs. Elton）就表现出对自己等级的过分自豪感；而较低阶层则受到限制，比如哈莉特·史密斯（Harriet Smith）由于身份低微而面临着找不到适合的婚姻对象的困境。

2. 婚姻观念对角色命运的影响《爱玛》中的角色被迫接受由家庭决定的婚姻，比如哈特菲尔德夫人（Mrs. Hartfield）对于女儿爱玛·伍德豪斯（Emma Woodhouse）的婚姻有着强烈的主导权。

这一传统制约了个人自由和幸福，也在小说中引发了许多曲折剧情。

3. 社交礼仪与规范塑造角色形象小说中的人物遵守和追求社交礼仪，他们讲究绅士风度、优雅举止，并通过社交活动来展示自己。

摘要: 《爱玛》被越来越多的人看作是英国浪漫主义女性小说家简·奥斯丁最成熟最经典的作品。

在这部小说中, 作者惟妙惟肖地描述了几对乡村青年的婚姻故事。

本文论述了奥斯丁成熟冷静的婚姻观: 婚姻固然要把男女真爱放在首位, 但也应把经济背景、社会地位等物质因素纳入婚姻的考虑之中。

本文同时剖析了作者这一婚姻观的成因。

关键词: 简·奥斯丁; 爱玛; 女性; 婚姻观引言简·奥斯丁是最受世人喜爱的英国浪漫主义女性小说家。

美国当代著名文艺评论家埃德蒙·威尔逊曾赞叹: “英国文学史上出现过几次趣味革命, 文学口味的翻新影响了几乎所有作家的声誉, 唯独莎士比亚和简·奥斯丁经久不衰。

”她可能是英国国内乃至全世界受到最多研讨的女性作家之一。

奥斯丁的小说以平凡琐碎的事为题材,却在方寸之中卓现大家之才,显示出其特殊的艺术技巧,具有相当的吸引力。

《爱玛》一书正是她的这种才能的典型体现。

婚姻与金钱是奥斯丁小说的两大主题, 女性是主要的描写对象。

她的所有作品都是围绕女主人公的爱情和婚姻展开的,他们或对爱情矜持或执着追求, 最终获得了幸福美满的婚姻;或受到了金钱、地位、外貌的蒙蔽和诱惑, 换来的却是名存实亡的毫无幸福的婚姻。

本文通过对《爱玛》这部作品的分析, 从作品中几对年轻女子的婚恋情节入手, 深入探讨奥斯丁在小说《爱玛》中所要表现的婚姻观。

一、简·费尔法克斯的婚姻简·费尔法克斯(Miss. Jane Fairfax) 在小说《爱玛》中是费尔通情达理, 讨人喜欢。

”因此, 没有财产的妇女只能通过婚姻,才能寻到出路; 若要谋职, 也就只能去当个家庭教师, 而家庭教师也就是个奴隶的地位。

外形条件不错的简怎会选择做奴隶呢? 正是依靠与丘吉尔先生的这桩婚事, 她从一个卑微的孤儿变为有钱有势的过着华丽生活的丘吉尔夫人。

这便是当时英国社会妇女的地位和命运。

二、哈里特·史密斯的婚姻与简相比, 哈里特·史密斯(Miss. Harriet Smith)的生活就没那么光鲜了。

2462018年08期总第396期ENGLISH ON CAMPUS从《爱玛》看简·奥斯汀的女性主义婚姻观文/赵天琪 范丽娟【摘要】作为19世纪英国的现实主义女性作家，简·奥斯汀对妇女所处的各种境况感同身受。

在《爱玛》中，奥斯汀赋予主人公爱玛独立的人格意识，通过描写不同女性角色的婚姻来表达自己的婚姻观，以此唤醒女性的自我意识。

【关键词】爱玛；婚姻；女性主义【作者简介】赵天琪，哈尔滨师范大学西语学院硕士，主要研究方向为英语语言文学；范丽娟，哈尔滨师范大学西语学院教授，主要研究方向为英国文学及英美女性文学。

一、简介简·奥斯汀，1775年出生于英国史蒂文顿的牧师家庭。

作为19世纪初英国杰出的现实主义女性作家，简·奥斯汀一生创作了很多部经典作品。

她的最后一部长篇小说《爱玛》出版于1816年，被公认为是她最成功的一部作品。

小说《爱玛》主要围绕女主人公爱玛·伍德豪斯展开，描写了发生在她周围的一系列爱情故事与琐碎。

通过对主人公爱玛追求自由平等的婚姻的刻画，肯定了女性在家庭和社会中的地位，表达了作者的女性主义观点。

二、简·奥斯汀在《爱玛》中的婚姻观婚姻在奥斯汀的小说中是个一成不变的焦点话题。

在奥斯汀眼中，婚姻对女人的命运有着极为复杂而又非常重要的影响。

作者通过对不同女性人物婚姻的刻画，体现了爱情、金钱和平等在婚姻中的重要性。

1.爱情是婚姻的基础条件。

奥斯汀坚信爱情是婚姻的基础。

尽管奥斯汀对婚姻的看法很现实，但是在对待爱情是婚姻中不可或缺的基础这一观点上，她从未动摇过。

小说中最为美好的爱情当属爱玛和奈特利先生。

他们的故事跌宕起伏，布满波折。

爱玛最初宣称自己对婚姻不感兴趣，她把自己的精力放在了海伯里这个小村庄以及家中的琐碎事情上。

她为人牵线做媒，却总狼狈收场，尤其是为朋友哈莉特指点姻缘时。

爱玛的挚友奈特利先生，一个富有的绅士，同时也是爱玛成长的精神导师。

他容忍爱玛的任性顽皮和骄傲自大，同时也欣赏和接受她千奇百怪的想法。

《爱玛》与爱情的追求与得失简介：《爱玛》是简·奥斯汀创作的一部经典小说，讲述了主人公爱玛·伍德豪斯在19世纪英国社会中对爱情的追求与得失。

本文将从不同角度分析《爱玛》中的爱情描写，探讨爱玛在追求爱情过程中所面临的挑战和遭遇的得失。

一、女性的婚姻观与爱情观在19世纪的英国社会中，女性的婚姻观和爱情观常常受到限制和约束。

爱玛身处于一个富裕家庭，享有相对自由，且在与其他角色的互动中展现着自己独立的婚姻观和爱情观。

她追求真爱，并希望双方在婚姻中能够得到平等和幸福。

然而，她的主观意识和自我意愿可能导致她在追求爱情的过程中遭遇失望和困难。

二、爱情中的阶级因素《爱玛》中，阶级也是影响爱情追求的重要因素。

爱玛陷入自身阶级的局限中，对待类似的阶级身份的人持有偏见，她拒绝了与低下身份的农民哈特利结婚的提议。

然而，约夫人与本杰明结婚倒是给了她思考自身观念的机会。

因此，爱玛在追求爱情时需要克服自身的偏见，站在更加宽广的视角去看待对方。

三、爱情追求中的道德考量爱情的追求并非只有甜蜜和快乐，其中也涉及道德的考量。

爱玛在小说中破坏了哈比舍尔夫妇的婚姻，导致美丽的哈丽埃特颜面尽失。

在这一过程中，爱玛追求自己的幸福，却忽视了对他人的伤害。

这种道德亏欠的得失成为爱玛追求爱情过程中的一个重要教训。

四、结局与得失小说最终以爱玛与奈特利的婚姻圆满收尾。

爱玛通过经历爱情的曲折与迷惑，最终成长为一个更富有智慧和成熟的人。

她不仅学会了理解别人的感受，也对自己的错误进行了反思和改正。

虽然爱玛在爱情追求中经历了失去，但她从中获得了更珍贵的东西，那就是成长和智慧。

结论：《爱玛》通过爱情的追求与得失，展现了19世纪英国社会中女性的困境和挣扎。

爱玛在追求爱情的过程中面临了阶级、道德等各种困难和挑战，同时也通过这些经历展现了自身的成长和智慧。

爱情的追求不仅仅是甜蜜和快乐，其中也需要付出代价和进行道德的考量。

通过对《爱玛》的分析，我们可以更好地理解爱情对于个人成长和社会发展的重要性。

浅析简·奥斯丁的《爱玛》【摘要】简·奥斯丁是18 世纪英国文坛的一颗明星，也是那个时代理性主义写作风格的代表。

小说《爱玛》是奥斯丁最成熟的代表作，其中婚姻、道德与阶级观念等多方面表现了作者及那个时代普遍存在的理性主义思想。

本文试从《爱玛》中的婚姻观入手，浅谈简·奥斯丁作品中体现出来的婚姻观和理性主义思想及其深远的社会意义。

【关键词】爱玛；友情；婚姻观；金钱；财富；地位；理性主义一谈到简·奥斯丁我们就会想到她的《傲慢与偏见》，《傲慢与偏见》是她最著名的作品，而《爱玛》则是她是成熟之作。

简·奥斯丁生活在18世纪末19世纪初的英国, 她一生完成了六部长篇小说, 均以女主人公的婚恋为主题, 以她们进入婚姻殿堂为结局。

简奥斯丁的六部作品可以分为两个时期，前期的作品：前期的《理智与情感》《傲慢与偏见》《诺桑觉修道院》和后期的《爱玛》《曼斯菲尔德庄园》《劝导》。

两个时期的写作整整分隔8 年。

在这两个时期之间，奥斯丁无论是在审美能力上，还是在对人性的探讨上，都逐渐从稚嫩走向成熟。

本文简单的分析一下她的后期作品《爱玛》。

婚姻与金钱是奥斯丁小说的两大主题, 女性是主要的描写对象。

她的所有作品都是围绕女主人公的爱情和婚姻展开的,他们或对爱情矜持或执着追求, 最终获得了幸福美满的婚姻;或受到了金钱、地位、外貌的蒙蔽和诱惑, 换来的却是名存实亡的毫无幸福的婚姻。

本文通过对《爱玛》这部作品的分析, 从作品中几对年轻女子的婚恋情节入手, 探讨奥斯丁在小说《爱玛》中所要表现的婚姻观。

《爱玛》这部作品一开始对我来说，感觉不是很好看，因为它的内容就是围绕着爱玛来写一些琐碎的事，没有跌宕起伏的故事情节，没有纯美爱情，也没有幽默的话语，给人的感觉就是一部描写家常琐事的书，但一本书看些来后给我的感觉有了截然不同的变化。

《爱玛》围绕着爱玛的生活展开来写的，从中我们可以了解到18世纪英国社会的爱情观、婚姻观。

Marriage and Love in Emma《爱玛》中的婚姻与爱情(文学院英语系英语专业吴萌)（学号:1999013201）内容提要:本文旨在论证简·奥斯汀反映在其杰作《爱玛》中的婚姻与爱情观：美满相称的婚姻建构于成熟爱情，真诚体谅，经济保障和相当的社会地位基础之上。

通过对小说中几对不同的爱情婚姻关系的分析，尤其是对主人公爱玛的爱情和婚姻分析，本文探讨了简·奥斯汀时代婚姻的社会，经济和心理基础以及婚姻在社会地位和经济保障方面，对于处于依附地位的女性阶层的重要意义。

关键词:婚姻，爱情，成熟爱情，门当户对，经济保障，社会地位教师点评:本论文对英国19世纪著名女小说家简·奥斯汀的名著《爱玛》进行了较详细的分析。

在熟读原著的基础上，论文作者探讨了《爱玛》中的几对婚姻及其经济、社会和心理基础，着重探讨了主人公爱玛的恋爱与婚姻，指出幸福的婚姻必须建立在成熟爱情、真诚理解、经济安全和社会稳定之基础上。

本论文立论有据，论证有力，语言流畅，层次分明，逻辑性强，对于英语本科生来说，达到了较高水平。

（点评教师：阮炜职称：教授）Emma is the climax of Jane Austen’s genius and the only one of her novels that has for its title a person’s name. According to Mr. Lionel Trilling, ‘Of Jane Austen’s six great novels, Emma is surely the one that is most fully representative of its author.’ i Pride and Prejudice is of course more popular, however, Reginald Farrer compares its effect with that of Pride and Prejudice: ‘While twelve readings of Pride and Prejudice give you twelve periods of pleasure repeated, as many readings of Emma give you that pleasure, not repeated only, but squared and squared again with each perusal, till every fresh reading you feel anew that you never understood anything like the widening sum of its delights.’ ii‘ I am going to take a heroine whom no-one but myself will much like.’--Jane Austen iii Emma stands apart from the other novels in at least one respect: whereas the heroines of the other novels are all to some extent disadvantaged in a worldly sense, Emma Woodhouse has every worldly advantage. She is “handsome, clever and rich”, and she has other advantage as well. One of them, since families are usually embarrassments in Jane Austen, but to Emma, it is a quite different case. The death of her mother happened too long ago even to be a sad memory, and her feeble father so dotes on her that he is like a child. Her elder sister, Isabella, is as gentle and pliable as Mr. Woodhouse, and lives far away. So is her former governess, Mrs. Weston, who has been as substitute mother of a kind, but she always indulged Emma rather than guided her. Thus, at the age of nearly twenty-one, Emma rules her household. There is no one in it (except Mr. Knightley) to challenge her strong will and good intelligence, and no one who does not love and admire her.The Woodhouses are at the top of the social tree in their restricted neighbourhood, Highbury.Though Emma is the queen of her local society and she has a high opinion of herself, her experience is actually limited. When the story begins, she is feeling particular isolated because her governess has just married a local gentleman, Mr. Weston. To fill her time she takes an interest in Harriet Smith, a young woman from the local boarding school, persuading her to refuse an offer of marriage from a respectable farmer, Robert Martin. Instead, Emma decides to engineer a match between Harriet and the local clergyman, Mr. Elton. Her scheme collapses, and Mr. Elton turns out to be not in love with Harriet but with Emma herself. When Emma refuses his proposal, he goes to Bath, and he returns with a brash, domineering woman as his wife.Then two new figures arrives in Highbury: Jane Fairfax, the poor niece of Miss Bates, a single, well-intentioned but rather talkative and irritating old woman, and Frank Churchill, the son of Mr. Weston. Emma for a while believes herself to be in love with Frank Churchill, and tells him about her speculation that Jane Fairfax has come to Highbury to escape an emotional commitment to a married man. In various ways, Emma is made aware of her misjudgements: she is rude to Miss Bates and rebuked by Mr. Knightley; Harriet confesses that she is in love with Mr. Knightley, making Emma realize that she loves him herself; and it is revealed that Frank Churchill and Jane Fairfax have been secretly engaged for some time. In the end, both Harriet and Emma marry the appropriate man: Robert Martin proposes again to Harriet, Emma and Mr. Knightley acknowledge their love to each other and they look forward to a married life, which is of ‘perfect happiness’.The setting of Emma, like Jane Austen’s other novels, is restricted, rarely moving outside the confines of a community which is little more than a large village. The number of characters is limited, and the social range also. Exciting incidents are in short supply; among the most dramatic episodes in the book are the scenes where one young lady is frightened by meeting some gypsies, and another young lady is rude to an older woman. The mysteries seem trivial: there’s such questions as ‘Who has sent Jane Fairfax a piano?’ and ‘Why does Jane walk to the post office in the rain?’However, to assume that these qualities damage the interest and significance of the novel is a fallacy, which confuses smallness with narrowness. Jane Austen’s limitation is self-imposed. To a niece who was trying to write a novel she said in a letter: ‘ You are now collecting your People delightfully, getting them exactly into such a spot as is the delight of my life ; …three or four Families in a Country Village is the very thing to work on’, iv and this is close to her own case in Emma. When she was invited to write a novel with clergyman as the hero, she wrote: ‘ I think I may boast myself to be, with all possible vanity, the most unlearned and uninformed female who ever dared to be an authoress’.v Though we could only take it as modest statement ( actually , she was quite widely read ) , it does indicate that she is against attempting anything that she was not confident to manage to her own satisfaction.Furthermore she compared her work to that of the miniaturist, referring to ‘the little bit ( two inches wide ) of Ivory on which I work so fine a Brush, as produces little effect after much labour’.vi But a good miniature is certainly better than a bad oil painting that covers an entire wall. And in any case, her novels are not only skilful miniatures: it is the nature of the novel that small things can imply great issues, and a novel restricted in scope, may stand as a microcosm, reflecting the universal situation and themes. For instance, when Emma is rude to Miss Bates, the matter is not trivial, and Mr. Knightley, the wisest character in the book, does not treat it as trivial. Important questions of human and social relationships are involved.There are two themes of Emma, one is growing up, the other is marriage and love. Thoughthese two themes seem different apparently, they are in fact intertwined and tightly connected. At the beginning of the novel, Emma is immature; in the course of it she moves towards maturity, partly as a result of some rather painful experiences in her relationships with other people, partly as a result of Mr. Knightley’s patient, loving and scrupulous guidance to her developing moral sense. For Jane Austen, self –knowledge -- or, to put it more negatively, freedom illusion and self-deception-- was a crucial attribute of maturity; and it is towards self-knowledge that Emma slowly and certainly moves. At end of the novel, she finally attains self-knowledge with the recognition that she loves George Knightley. More importantly, it is only at this point, she can be said to be ready for marriage.As we can see, marriage is the main theme in Emma, and the marriages in the novel are not the duplicate of each other. The novel begins with a marriage, that of the Westons. As the novel develops, much of the plots springs from Emma’s attempt to arrange a marriage for Harriet Smith. The Elton’s marriage is kind of trade, with the husband marrying for money and the wife for upgrading social status; Miss Bates offers a sad example of an unmarried woman; the John Knightleys have a marriage which based on mutual tolerance instead of mutual respect. The two matches, that of Emma- Mr. Knightley’s and Frank – Jane Fairfax’s, which stand at the central of the novel, will be discussed in more details in this article.‘Single women have a dreadful propensity for being poor-- which is one very strong argument in favour of Matrimony.’--- Jane Austen( In a letter to her niece )vii In Jane Austen’s point of view, the choice of a marriage partner is perhaps the most important and serious decision that an individual undertakes. She explores the social and economic as well as the psychological basis of marriage in her time. At Austen’s time, the educated single woman had two professions open to her—the stage and teaching. The former offered few opportunities and enormous risks; the latter was arduous, and little respected. There was also, of course, literature but writing, since journalism was not yet open to women, did not offer a stable livelihood. Unless, like Emma Woodhouse, a woman had a private income, happy matrimony was the only way of life in which middle-and upper-class women could normally hope to find themselves satisfied, esteemed, and secure. Economically, women were therefore a dependent class: if they married, they were supported by their husbands; if they were single, they remained dependent in their family. viiiJane Austen herself had first-hand experience of the risk of being left unsupported. When her father died in 1805, he left his widow and two daughters to live on an annual income of ￡210. Life would have been difficult for the three women but for the support from the sons, which totaled £460 per year and enabled the Austen women to live in reasonable comfort. Therefore, her remark to her niece was not entirely devoid of feeling.And the profession as a governess, (as Jane Fairfax intends to), was to be little better than a servant in the household with a haughty or tyrannical master. The bitterest part in Emma is Jane Fairfax.’s comparison of governess to the slave-trade:‘ when I am quite determined as to the time, I am not at all afraid of being long unemployed. There are places in town, offices, where inquiry would soon produce something-- Offices for the sale-- not quite of human flesh--but of human intellect.’‘ Oh! My dear, human flesh! You quite shock me; if you mean a fling at the slave-trade…’‘I did not mean, I was thinking of the slave –trade,’ replied Jane; ‘ governess-trade, I assure you, was all that I had in view; widely different certainly as to the guilt of those who carry it on; but as to the great misery of the victims, I do not know where it lies…’( Chapter 35, p.300) Marriage is also an important factor for the change of social status. The characters in the novel can be divided into two groups: those whose social status is fixed, and those who are mobile. In the first group are Mr. Woodhouse and Mr. Knightley, e.g. In the second group are Harriet Smith, Jane Fairfax and, and Augusta Hawkins (later she becomes Mrs. Elton). The second group belong to the younger generation, also they are unmarried. Emma, herself, of course belongs to the second group, but she has no need to marry to secure financial security and social status.Harriet doesn’t have any “fortune”, but her great point interest for Emma is that her family origins are unknown. Emma chooses to believe that Harriet is the illegitimate daughter of someone high in the social scale--a princess turned into a goose-girl. But in the end, she turns out to be ‘the daughter of a tradesman’ which puts Emma’s romantic notion that Harriet had “ the blood of gentility” firmly in its place. Emma plans to marry off Harriet to a husband beyond her social expectations-- first to Mr. Elton, then (even more ambitiously) to Churchill. Eventually, Harriet’s union with Robert Martin has nothing startling, but is suitable in every way, fitting into Jane Austen’s standard of Marriage, which is“aesthetically right, morally and humanly balanced, financially sound.”ixJane Fairfax succeeds in making a marriage that raises her in the social scale: in her case, the Cinderella story comes true. She has neither wealth nor family to support her, and would have become an ill-paid and low-positioned governess, yet marries the handsome young man, Frank Churchill, who is the heir of a great family with large estates. However, she deserves it for she is pretty talented, superior to Emma in her moral scale. She genuinely loves Frank, and is indeed better than he deserves.As for “ the charming August Hawkins”, whose ‘independent fortune” is a bait for Mr. Elton, she succeeds in her ambition to marry well. But her case is different from Jane Fairfax. Her fortune has been inhabited from her father’s business ventures, and she represents a class eager to secure the prestige of a higher social scale overnight. Mr. Elton is a clergyman of the Established Church in a small community, and the church is the center of people’s life. Though a vicar, he enjoys a relatively high position that bears no relation to his income. The Elton’s match is a typical example of the mutually beneficial alliance at the time. In return for his bride’s money, which he badly needs, Mr. Elton offers her the status from his position as a vicar.As the example shows, marriage was not only the matter of personal affection, but often involved the transfer of capital and adjustment, minor or major, of social status. From which one could see that marriage, as a major theme in the novel, vividly reflecting the social and economic life. The point could be revealed in Wystan Hugh Auden’s Letter From Iceland:You could not shock her more than she shocks me;Besides her Joyce seems innocent as grass.It makes me most uncomfortable to seeAn English spinster of the middle-classDescribe the amorous effects of ‘brass’,Reveal so frankly and with such sobrietyThe economic basis of society. xThen what kind of love fits into Jane Austen’s concept of marriage? Her strong attitude towards love is revealed in the letter to her niece, Fanny Knight: ‘ Anything is to be preferred or endured rather than marrying without affection,’ and ‘ Nothing can be compared to the misery of being bound without love, bound to one and preferring another.’ xi On the other hand, she was deeply suspicious of romantic notions of love, which, in her view, were indistinguishable from infatuation and imagination. Harriet, serves as a good example. Harriet, who is shallow, silly, is described as being quite susceptible: ‘ Harriet was one of those, who, having once begun, would be always in love’. Emma’s concept of love mainly relies on the instincts and the imagination, rather than reason and experience. She is the very kind of ‘imagist’. In her hopes for Harriet, ‘she was quite convinced of Mr. Elton’s being in the fairest way of falling in love, if not in love already’. Later on, when her acquaintance with Frank Churchill is growing, she thought that he is not ‘ unworthy of the distinguished honour which her imagination had given him; the honour, if not being really in love with her, of being at least very near it…’ And as the relationship grows, Emma ‘ continued to entertain no doubt if her being in love’. While her imagination has satisfied her that ‘He is undoubtedly very much in love-- everything denotes it--very much in love indeed!’ In the case of Jane Fairfax, on the flimsiest of grounds she fancies ‘the highly probable circumstance of an attachment to Mr. Dixon’, in which ‘ If it were love, it might be simple, single, successless on her own side alone’. When Frank Churchill rescues Harriet from the gypsies, Emma’s imagination is again immediately fired:Such an adventure as this, - a fine young man and a lovely young woman thrown together in such a way, could hardly fail of suggesting certain ideas to the coldest heart and the steadiest brain. So Emma thought, at least.It is not until Harriet has told Emma she is in love with Mr. Knightley when Emma finally realize what she feels for Mr. Knightley. Emma’s first moral crisis was to discover that the man she had planned Harriet should marry was in fact in love with her; now at this point, she finds that the man she loves seems to be in love with Harriet. The situation reverses and Emma has a taste of her own medicine:Emma’s eyes were instantly withdrawn; and she sat silently meditating , in a fixed attitude, for a few minutes. A few minutes were sufficient for making her acquainted with her own heart. A mind like her’s, once opening to suspicion, made rapid progress. She touched--she admitted—she acknowledged the whole truth. Why was it so much worse that Harriet should be in love, with Mr. Knightly, than with Frank Churchill? Why was the evil so dreadfully increased by Harriet’s having some hope of a return? It darted through her, with the speed of an arrow, that Mr. Knightley must marry no one but herself!Her own conduct, as well as her own heart, was before her in the same few minutes. She saw it all with a clearness which had never blessed her before. How improperly had she been acting by Harriet! How inconsiderate, how indelicate, how irrational, how unfeeling had been her conduct! What blindness, what madness, had led her on! It struck her with dreadful force, and she was ready to give it every bad name in the world.(Chapter 47, P398) Then, why wouldn’t Emma admit her love from the start? The crucial reason is her fear of losing her selfhood and the fear of being hurt. Emma is afraid of being undervalued and of being treated as a dependent and subservient female, rather than an independent individual of dignityand with good sense. In her debate with Mr. Knightley over Harriet, she cried playfully, ‘ To be sure, I know that is the feeling of you all. I know that such a girl as Harriet is exactly what every man delights in – what at once bewitches his sense and satisfies his judgement. Oh! Harriet may pick and choose. Were you, yourself, ever to marry, she is the very woman for you’.Secondly, it is her fear of losing her status quo as a domineering individual in her superior family that blinds her to the love for Mr. Knightley. She is extremely conscious of rank. For her class, family is the foundation, property the outward symbol, and suitable marriage the goal. Moreover, for Emma, family and property are the chief criteria of acceptability. However, she dismisses as a goal for herself.‘Were I to fall in love, indeed, it would be a different thing! But I never have been in love; it is not my way, or my nature; and I do not think I ever shall. And , without love, I am sure I should be a fool to change such a situation as mine. Fortune I do not want; employment I do not want; consequence I do not want: I believe few married women are half as much mistress of their husband’s house as I am of Hartfield; and never, never could I expect to be so truly believed and important; so always first and always right in any man’s eyes as I am in my father’s ’.As in many comedies, the main major love story ( Emma—Mr. Knightley) is interwoven with another pair of lovers, that of Frank Churchill and Jane Fairfax. The two matches illuminate each other and the latter bring the main plot—Emma’s story to its fruition. The two matches share its similarities as well as dissimilarities. Firstly, the both plots turn upon a secret love, but Emma- Mr. Knightley’s one is by unconscious self-deception, while Frank –Jane’s one is secret by conscious deception. One love story, that of Frank and Jane, is resolved wholly by chance, that’s by Mrs. Churchill’s completely unexpected and ‘very timely’ death; while the other match is achieved by choice and by mutual recognition.Box Hill is the turning point of both love affairs, with a quarrel which pulls the two pairs apart for the time being, but only to bring them back together more intimately and reach their happy ending. Frank’s letter of explanation reveals how crucial Box Hill is for Frank and Jane. Frank, who is mad at Jane’s unwillingness to walk home with him from Donwell Abbey the day before, flirts with Emma in order to taunt Jane. Jane, wounded, answers with bitter remarks: ‘ It can only be weak, irresolute characters whose happiness must always be at the mercy of chance, who will suffer an unfortunate acquaintance to be an inconvenience, an oppression for ever’. Then the indignant Frank leaves Highbury that very afternoon, without saying farewell to Jane. And that evening, Jane accepts the position offered by Mrs. Elton’s to work as a governess with Mrs. Smallridge, and writes to Frank breaking off the engagement. At the crucial point, Frank’s aunt dies, and he is no longer forced to choose between the two ladies, or rather, between wealth and love. Jane’s ultimatum, though, pushes him to ask his uncle’s permission to marry Jane. As the biggest obstacle- Mrs. Churchill is no longer there, the permission is quickly granted.We can never be sure whether Frank Churchill would give up his fortune for Jane . He is relieved of the choice. Furthermore, why did he insist on keeping their engagement secret? In his letter of explanation, he writes, ‘But you will be ready to say, what was your hope in dong this? – What did you look forward to?—To any thing, every thing—to time, chance, circumstance, slow effects, sudden bursts, perseverance and weariness, health and sickness’ . In a word, he is waiting for his aunt to die. Then, he could marry Jane and retain all his aunt’s money and status. Fate favours him to remain a spoiled child, free of painful choices. He closes his letter by saying that Emma was right to call him ‘ the child of good fortune’.To some extent, Emma is another Frank, another spoiled child in a rich family. But she has an even better fortune: she is allowed to choose, to grow and to mature. Emma and Mr. Knightley’s union is not achieved by opportunism but by their moral choice. At Box Hill, Emma’s cutting insult on Miss Bates is similar to Frank’s sneer at Jane; and Mr. Knightley’s rebuke is parallel to Jane’s ironic critic on Frank, wounding Emma’s pride and strong sense of self-repect. Moreover, Emma is so hurt at losing Mr. Knightley’s good opinion. For the kind of stitchingly painful feeling which she has never known before, she genuinely wants to change, and she really does so. Later the union of Emma and Mr. Knightley is based on the mutual respect and moral appreciation of each other, which embraces dignity and integrity. Just as Mr. Knightley’s comment after reading Frank’s letter: ‘ My Emma, does not every thing serve to prove more and more the beauty of truth and sincerity in all our dealings with each other?’In their final meeting, Emma says to Frank she is certain Frank must have enjoyed deceiving everyone in Highbury, because she knows that she herself has found great amusement in doing so. ‘Think there is little likeness between us’. She says, and Frank acknowledges. Emma adds that she and Frank have the same destiny— ‘the destiny which bids fair to connect us with characters so much superior to our own’. But Frank ecstatically admires Jane, his fiancée’s complexion, hair and eyes by ‘whispering seriously’ to Emma the news that ‘ my uncle means to give her all my aunt’s jewels. They are to be new set. Will it not be beautiful in her dark hair?’ He ends up with the fortune and his true love, yet he remains the thoughtless, spoiled boy. Emma has raised herself to her husband moral level, while Frank is in danger of brings his wife down to his level. Emma, instead of Frank, is the lucky one.Thus the heroes and heroines undergo a succession of tests, and are finally rewarded by one prize which is possible and appropriate in their social context—‘marriage which is aesthetically right, morally and humanly balanced, financially sound.’ The novel has a happy ending—‘The perfect happiness of the union’, which are the novel’s final words. The happy marriages have an important symbolic role in the novel. Like Jane Austen’s other novels, Emma is a romantic comedy, which describes a positive, celebratory view of life, presenting happiness and ideals as possibilities. Her novels are often compared with Shakespeare’s comedies, which end in a very similar way, with marriages symbolising reconciliation and harmony.In the modern point of view, one may feel the happy endings are a kind of escapist, unrealistic fantasy. In other words, Jane Austen is a conservative novelist, in spite of her powerful criticism of many aspects of society. In Emma, the heroine has to learn to deserve her social status by treating other people with respect to become a ‘lady’ as Mr. Knightley is a “gentleman’. However, her social position is not questioned: there is never a real possibility that Harriet will cross social boundaries, by marrying Mr. Knightley or even Mr. Elton. In Jane Austen’s point of view, marriage matters greatly, preserving the fabric of society. Appropriate and happy marriage should be based on mature love, genuine understanding, financial security –and social suitability.注释:1、 Lionel Trilling, ‘Emma and the Legend of Jane Austen’, Beyond Culture (New York, 1965), p. 32、Malcolm Bradbury, ‘ Jane Austen’s Emma’, In David Lodge (ed.), ‘Emma’：A Casebook ( Macmillan , London,1968), p.1063、Quoted in ‘ Introduction’ by Ronald Blythe, Emma (Penguin Classics, Foreign Language Press,1994), p.124、Robin Vick, ‘Jane Austen’s letters’ Notes and Queties. Sep, 1994. V ol.41, Issue,3 <EBSCO Database>5、Quoted in ‘ Emma and the Legend of Jane Austen ’ p.456、Quoted in ‘Introduction’ by Ronald Blythe p157、‘ Jane Austen’s letters’8、See Christoper Gille: ‘Women in life and Literature’ A Preface to Jane Austen ( Harlow, Longman Group Ltd,1974) pp.91-29、‘Jane Austen’s Emma’ p1010、John Odmark, An Understanding of Jane Austen’ s Novels ( Oxford: Basil Blackwell Ltd, 1980), p156参考文献:1、Austen, Jane. Emma. Beijing:Penguin Classics, Foreign Language Press,19942、Gille, Christopher. A Preface to Jane Austen. Harlow: Longman Group Ltd, 19743、J. Fitzpatrick, William. Monarch Notes Jane Austen’s Emma and Mansfield Park, New York: MonarchPress,19654、Lodge, David.(ed.) Emma, A Casebook London: Macmillan,19685、Monaghan, David. New Casebooks, Emma London: Macmillan,19926、Monaghan, David. Jane Austen Social Structure and Vision. London: Macmillan Publishers Ltd, 1980.7、Odmark, John.An Understanding of Jane Austen. Oxford: Basil Blackwell Ltd, 19818、Vick, Robin. Jane Austen’s letters. Notes and Queties Sep.1994, V ol.41, Issue 3 <EBSCO Database>(指导老师阮炜教授)。

论简·奥斯丁《爱玛》中的婚姻门第观作者：任瑜来源：《文学教育》 2021年第9期任瑜内容摘要：本文分析了《爱玛》中的三段不同身份女性的婚姻选择，探讨了简·奥斯丁的婚姻观和价值观，英国阶级社会中人人遵循等级门第观，影响着人们生活的方方面面。

关键词：《爱玛》婚姻门第观简·奥斯丁是一位英国18-19世纪杰出的现实主义女性作家，被文学界评论为能与莎士比亚相媲美的“喜剧大师”。

1775年，简出生在一个叫做斯蒂文顿(Steventon)的偏远村庄，父亲乔治奥斯丁是一名教区长，母亲卡桑德拉奥斯丁则是家庭主妇，过着比较优渥富有的生活。

深受其父兄的影响，简从小大量阅读名著小说，为她的创作才华培养提供了有利条件。

简在其一生中共发表了六部长篇小说：《傲慢与偏见》（或《最初印象》，1812）、《理智与情感》（或《埃莉诺与玛丽安》，1811）、《曼斯菲尔德庄园》（1814）、《爱玛》（1816）、《劝导》（或《好事多磨》，1818）和《诺桑觉寺》（1818）。

18-19世纪的英国社会正经历着社会和政治的动乱，处于封建主义向资本主义过渡的转折期，旧式贵族和新兴资产阶级并存。

在婚姻市场上，根深蒂固的等级门第观仍旧占据主导地位，影响规范着人们的行为和选择。

简奥斯丁的作品很好地抓住了时代的特征，通过描写那个时代的中产阶级家庭妇女的日常生活和细腻的内心感情生活，深刻地反映了英国整个社会的价值观和阶级观。

其中，《爱玛》是简创作风格最为精彩、经典、成熟的代表作。

一.泰勒小姐与韦斯顿上尉对于18-19世纪的女性来说，虽然随着经济、政治和社会变革的开始，她们的家庭和社会地位有所改变，但女性长期以来一直被认为是男人的附属品，处于边缘化的地位。

不管是处于社会底层的妇女，还是受过些教育的上层社会妇女，女性普遍都没有独立的社会生存技能和职业来维持生计，因此婚姻成了他们掌握长期饭票的一个重要通道，她们的命运很大程度上受制于男人的财富和社会地位。

第21卷 第10期 牡丹江大学学报 Vol.21 No.10 2012年10月 Journal of Mudanjiang University Oct. 201222 文章编号：1008-8717（2012）010-0022-03从《爱玛》解读简·奥斯汀的婚姻价值观王 洁 辉（平顶山学院， 河南 平顶山 467000）摘 要：《爱玛》中的人物融入社会现实，依循社会规则，他们的婚姻并不意味着纯粹的爱情而是双方的契约。

本文根据18、19世纪英国女性的社会、家庭地位，分析《爱玛》中的婚姻类型，以爱玛的婚姻为基础解读简·奥斯汀的婚姻价值观。

关键词：《爱玛》；简·奥斯汀；婚姻 中图分类号：I106 文献标识码：A 一、 引言《爱玛》被多数文学评论家认为是简·奥斯汀最成熟的作品。

小说反映了以财产来界定人的社会地位的社会，突出了生活环境对女主人公们的婚姻观念及命运的影响，揭示了英国妇女的地位和命运。

当时英国的女性受到社会价值观的鼓励，利用其女性特质来赢得婚姻伴侣。

婚姻为阶级提供了一个交换整理与经济交流的市场。

女性人物明白婚姻关系可提供阶级地位提升并改善经济的机会，财力与社会地位成为决定结婚对象的相关条件，为了达成结婚的目的，她们擅于把自己转化成商品，展示外貌与才艺，吸引男性目光。

社会地位、家庭因素成为女性婚姻意识的决定性因素。

二、 18、19世纪英国女性的社会、家庭地位 18、19世纪英国的社会、政治、经济、文化等诸多领域发生了翻天覆地的变化，进入了资本主义发展轨道。

但传统的封建思想仍然根深蒂固，女性的社会地位与家庭地位不但没有随着生产力的发展而提高，反而进一步受到男权的制约，成为男性的附庸。

1. 女性的社会地位布瑞吉特· 希尔指出18世纪中期资本主义对农业和城市手工业的入侵宣告了家庭经济的死亡, 家庭不再是工作的中心。

妇女由于不再为获得经济必需品而外出挣工资, 被束缚在家里, 家务更多地与女性联系在一起, 并开始呈现出一种低价值化趋势, 这种状况被进一步固定化的结果是最终形成了妻子和母亲的道德责任——将其自身全部奉献给家庭的社会观念。

《爱玛》爱情与婚姻观后感在看《爱玛》这部作品之前，我对爱情与婚姻的理解，大概还停留在那些浪漫偶像剧所营造的梦幻泡影之中。

可当我真正沉浸在《爱玛》的世界里，我才发现，真正的爱情与婚姻，远比我想象的要复杂得多，也真实得多。

爱玛，这个自认为聪明绝顶、善于为他人牵线搭桥的姑娘，在一次次的“乱点鸳鸯谱”中，逐渐认清了自己的内心，也让我跟着她的脚步，对爱情和婚姻有了全新的认识。

影片中，爱玛为好友哈丽特安排的那些相亲对象，真的是让人啼笑皆非。

她自以为是地认为，只有身份高贵、家境优越的男子才能配得上哈丽特。

于是，她将目光锁定在了牧师埃尔顿先生身上。

可她完全没有考虑到哈丽特的真实感受，也没有意识到爱情并不是一场简单的身份匹配游戏。

记得有一个场景，爱玛兴致勃勃地安排哈丽特与埃尔顿先生在花园中见面。

那是一个阳光明媚的午后，花园里的花朵争奇斗艳，仿佛也在为这场“相亲”增添几分浪漫的色彩。

爱玛精心布置了一切，她让哈丽特穿上了最漂亮的裙子，还特意叮嘱她要保持优雅的姿态。

而自己则躲在一旁的灌木丛后面，偷偷观察着两人的一举一动，那紧张又期待的神情，就好像这场相亲的成功与否关乎着她自己的命运。

然而，事情的发展却完全出乎爱玛的意料。

埃尔顿先生对哈丽特根本没有丝毫的兴趣，他的目光始终停留在爱玛身上，那炽热的眼神让人感到有些不适。

而哈丽特呢，也对埃尔顿先生毫无感觉，只是在爱玛的不断催促下，勉强应付着这场尴尬的会面。

整个过程中，哈丽特的笑容显得那么僵硬，她的眼神中充满了迷茫和无助，而爱玛却丝毫没有察觉到这一切，还在一旁为自己的“杰作”沾沾自喜。

看到这里，我不禁在想，我们在生活中又何尝不是像爱玛一样，总是以自己的想法去干涉他人的感情生活，却忽略了每个人内心真正的需求。

我们总是认为自己是为了对方好，可实际上，我们所谓的“好”，可能并不是对方真正想要的。

再说说爱玛自己的感情经历。

她一直坚信自己不会爱上任何人，直到奈特利先生的出现，打破了她内心的平静。

《爱玛》与爱情的选择《爱玛》是简·奥斯汀创作的一部经典小说，讲述了主人公爱玛的一生。

爱玛是一个聪明机智、心机颇深的女孩，她对周围的人和事都有着自己独到的见解。

在小说中，爱玛的感情经历成为了一个重要的话题，探讨了关于爱与婚姻的选择。

本文将从几个方面展开对于《爱玛》中的爱与婚姻选择的讨论。

首先，爱玛对于爱情有着自己独特的见解。

作为一个年轻的贵族女士，爱玛追求的不仅仅是婚姻，更重要的是追求一份真正的爱情。

她深知婚姻是一生的大事，不愿意随随便便地嫁给一个她不爱的人。

因此，在小说中，我们看到爱玛多次拒绝了追求她的男士，因为她并不爱他们。

她坚信只有真正的爱情才是婚姻的基础。

其次，小说中的爱情选择也反映了当时社会的现实和普遍思想。

在《爱玛》中，作者通过描述爱玛的朋友们的感情生活，展现了当时上层社会对于婚姻的看法。

许多贵族女子，为了追求财富和地位，不得不放弃自己的真爱，嫁给一个有利于家族的人。

尽管这种现象在现代看来有些无法理解，但它却真实地揭示了当时社会对于婚姻的重视程度和约束。

另外，小说中的爱情选择也涉及到了男女角色对于爱情的理解。

在爱玛的感情经历中，我们可以看到男性角色们对于爱情的态度和追求与女性有所不同。

例如弗兰克·邱吉尔，他的浪漫追求与女性视角有着明显的差异。

在小说中，他多次为了引起爱玛的注意而做出一些浪漫而出格的举动，但却未必能让爱玛动心。

这反映了男女在爱情上的差异，也暗示了爱情选择的复杂性和个体差异。

最后，在《爱玛》中，爱情选择与自由意志也是息息相关的。

小说中的角色们受到了社会和家庭的束缚，很难完全按照自己的心意去选择自己的配偶。

然而，爱玛却在某种程度上追求了自由的婚姻选择。

她决心不同于其他女子，坚持寻找自己真正的爱情。

这种追求自由的态度，也反映了当时女性对于婚姻选择的渴望。

综上所述，《爱玛》中的爱与婚姻选择是一个复杂而深入的主题，涉及到了不同的角色、社会现实、性别差异和自由意志。

《爱玛》读后感：成长、爱情与社会风俗的细腻描绘引言：简·奥斯汀的《爱玛》是一部描绘19世纪英国乡村社会的经典小说。

通过主人公爱玛·伍德豪斯的故事，这部作品不仅展示了作者对人性的深刻洞察，也反映了当时社会的风俗习惯和婚姻观念。

阅读这部小说，我深受启发，以下是我的一些感悟。

正文：一、爱玛的成长之旅爱玛是一个聪明、独立但有些自负的年轻女子。

她的性格复杂，有着自己的优点和缺点。

在小说中，爱玛经历了一系列的误解和挫折，最终实现了自我反省和成长。

她的故事让我认识到，每个人都需要不断地自我改进和学习，以成为更好的自己。

二、婚姻观的深刻探讨小说中对婚姻的探讨非常深刻。

爱玛最初对婚姻持有轻率的态度，但随着故事的发展，她逐渐认识到真正的爱情和婚姻需要相互理解和尊重。

这让我思考了婚姻的真正意义，以及如何在爱情和婚姻中找到平衡和幸福。

三、丰富多彩的角色群像《爱玛》中的其他角色，如凯瑟琳·莫兰、哈丽特·史密斯和乔治·奈特利等，都具有鲜明的个性。

他们的故事与爱玛的成长相互交织，为小说增添了丰富的层次。

特别是乔治·奈特利先生，他的智慧和深情最终赢得了爱玛的心，展现了爱情的力量。

四、讽刺手法的巧妙运用简·奥斯汀在小说中巧妙地运用了讽刺手法，对当时的社会阶级观念和婚姻观念进行了温和的批评。

她的文字幽默而尖锐，让人在轻松愉快的阅读中思考社会现象背后的深层含义。

五、生动的社会风俗描写小说中对19世纪英国乡村社会的细节描写非常精彩。

从日常生活到社交场合的礼仪，奥斯汀为我们描绘了一幅幅生动的社会画卷。

这些细节不仅增加了故事的真实性，也让读者仿佛置身于那个时代。

六、人物的立体性和成长变化爱玛的成长和改变展现了人物的立体性。

她从一个有些自私和任性的年轻女子，成长为一个更加成熟、懂得爱的女性。

这个过程不仅对她自己有着重要意义，也对周围的人产生了积极影响。

结论：《爱玛》是一部值得细细品味的小说。

从《爱玛》解析简•奥斯汀的婚姻家庭观作者：崔丽张瑜珊来源：《语文建设·下半月》2014年第10期摘要：在英国文学史上具有里程碑意义的现实主义女作家非简·奥斯汀莫属。

她塑造了一系列生动活泼的女性形象，具有较为浓重的女性主义色彩。

其中，她的小说《爱玛》被大部分人认为是其最为成熟的作品。

该部小说通过描写十八世纪至十九世纪英国女性的社会与家庭地位，来揭示出奥斯汀本人所持有的婚姻家庭观。

关键词：简·奥斯汀《爱玛》女性主义意识婚姻家庭观引言简·奥斯汀出身于英国一个神父之家，她自幼喜欢写作，尤其偏好那些带有滑稽色彩的罗曼蒂克史。

她一生中总共就创作了六部小说。

然而，由于这些作品创作的时代背景基本上属于女性处于较低社会地位的时期，因此，她的作品都是以匿名的方式发表的。

但是，所有这些都并没有妨碍她成为英国女性主义意识的先驱性代表人物。

这是因为她的作品中都塑造了形形色色聪明能干的女性形象，尤其是在其小说《爱玛》中更是有着鲜明的体现。

在这部小说中，奥斯汀并没有摆脱当时小说创作的俗套，仍然以婚姻家庭作为其创作的主题。

尽管如此，我们仍然可以通过《爱玛》这部小说来解析其所持有的婚姻家庭观。

一、《爱玛》简介《爱玛》应该说是十九世纪英国文坛上最具影响力的经典小说之一。

小说中所描绘的故事情节如下：主人公爱玛是一个年轻漂亮且富有的女孩子，同时也是一位充满了幻想的女子。

由于她家庭环境以及所受教育良好，因而，爱玛有着自命不凡的性格特征。

她特别喜欢关注发生在自己身边的各种浪漫爱情故事，却又深信自己并不会卷入其中。

她擅自做主为孤女哈丽特谈了一场又一场的恋爱。

尽管这些随意且固执的做媒行为引起了父亲的不满与反对，但是，她仍然一意孤行地继续充当着孤女哈丽特监护人的身份。

某一天，她忽然惊觉自己爱上了奈特利先生，而这与她一贯的终身不嫁誓言相违背。

富有戏剧性的是，爱玛最终抛弃了自己的誓言而投入到了情网当中。

在整个小说故事发展过程中，爱玛把一些等级制度下的条条框框抛之脑后，并参与或导演了一次次令人啼笑皆非的爱情故事，并以出乎人意料的结局而结束。

《爱玛》与19世纪英国的婚姻市场作为19世纪英国文学的经典之作，《爱玛》通过描绘主人公爱玛·伍德豪斯的婚姻观和婚姻选择，反映了当时英国社会的婚姻市场现状。

本文将从女性婚姻观的转变、社会地位与婚姻的关系以及社会阶级对婚姻的影响等方面，探讨《爱玛》中的婚姻主题。

1. 女性婚姻观的转变婚姻在19世纪英国被视为女性的出路和归宿，但是在《爱玛》中，奥斯汀却突破了传统婚姻观念的束缚。

主人公爱玛对婚姻的态度与当时的女性有所不同，她自信、独立，坚持追求自己的幸福而不随波逐流。

这一特点体现了社会风气逐渐变化的趋势，女性开始倡导自主选择婚姻对象。

2. 社会地位与婚姻的关系19世纪的英国，社会地位与婚姻息息相关。

婚姻被视为提升社会地位的手段，贵族与富商之间的联姻成为社交圈的常态。

在小说中，乔治·奈特利对爱玛的追求引起了极大的关注，这一关注既是对她的美貌和才华的认可，也是对她家庭背景和社会地位的看重。

3. 社会阶级对婚姻的影响在19世纪的英国，社会阶级对婚姻选择起着决定性的作用。

配偶的社会地位往往会影响到双方的幸福与婚姻的稳定性。

小说中的哈丽埃特·史密斯是一个贫穷的姑娘，她与农民罗伯特爱情的产生遭到了来自社会阶级的强烈反对，最终导致了两人的分离。

这一情节表明，社会阶级的差距在19世纪的英国婚姻市场中是不可忽视的因素。

4. 爱情与婚姻的纠葛《爱玛》通过一系列复杂的爱情纠葛，展现了婚姻的复杂性。

小说中的爱情多次受到外界干扰和误导，使得婚姻选择不再只是基于纯粹的感情，而是受到各种因素的影响。

例如，弗兰克·丘奇的突然出现引起了爱玛对自己的婚姻前途的重新思考，这一事件凸显了爱情与婚姻之间的不可分割关系。

综上所述，《爱玛》通过主人公的婚姻观和婚姻选择，揭示了19世纪的英国婚姻市场的现状。

女性婚姻观的转变、社会地位与婚姻的关系以及社会阶级对婚姻的影响等方面，都构成了小说中丰富多样的婚姻主题。

通过对这些主题的深入探讨，读者能够更好地理解当时英国社会的婚姻市场，并思考现代婚姻观的变革与发展。

《爱玛》的婚姻市场简介：《爱玛》是简·奥斯汀的经典小说，以19世纪英格兰的社会风气为背景，生动展现了当时的婚姻市场。

本文将探讨《爱玛》中各个角色的婚姻观念及其对婚姻市场的影响。

第一部分：英格兰19世纪的婚姻市场19世纪英格兰的婚姻市场非常重要，尤其对于女性。

留有限财产的女性需要嫁给有地位和财富的丈夫，而没落的贵族和新兴资产阶级则追求通过婚姻来提升社会地位。

这种现象在《爱玛》中得到了充分的呈现。

第二部分：爱玛的婚姻观念与行动爱玛是一个乐观、活泼而聪明的年轻女子，她对婚姻有着浪漫化的想象。

而且，她对别人的婚姻生活也很喜欢干涉，以满足自己的好奇心。

然而，她对自己的婚姻却考虑不够周全，最终导致一系列的误解和问题。

第三部分：爱玛与哈特菲尔德的婚姻观念对比与爱玛相比，哈特菲尔德是一个理性而世故的人。

他对婚姻的看法更加务实，追求的是双方互相尊重和相互依靠的婚姻关系。

然而，他的贫穷地位限制了他与威尔顿夫人之间的婚姻。

第四部分：爱玛对哈特菲尔德的误解在小说的情节中，爱玛对哈特菲尔德的感情产生了误解。

她先是将哈特菲尔德看作了一个无趣且普通的人，后来则误会了他对海丽娜小姐的兴趣。

这种误解导致了她在婚姻市场上的不稳定行为。

第五部分：爱玛的成长与婚姻观念转变通过一系列的经历和教训，爱玛逐渐成熟并改变了她的婚姻观念。

她意识到婚姻不应只关注财富和地位，更应该注重双方的情感和共同价值观。

最终，她接受了自己的爱情，并与哈特菲尔德结婚。

结论：《爱玛》生动展现了19世纪英格兰的婚姻市场，以及不同角色的婚姻观念和行为。

通过爱玛的成长和转变，我们不仅可以看到个人对婚姻的认知演变，还可以反思当代婚姻观念的发展。

以上对《爱玛》的婚姻市场进行的探讨，有助于我们更好地理解小说中的人物及其所处的时代背景。