奥斯丁《爱玛》中的反讽手法

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Contents

Acknowledgements……………………………………………………….i

Abstract….……………………………………………………………….ii

摘要………………………………………………………………………iv

Chapter 1 Introduction .................................................................1

1.1 Jane Austen and Her Irony ...................................................................................1

1.2 Purpose and Organization of the Thesis ...............................................................3

Chapter 2 Literature Review ..........................................................5

Chapter 3 Ironies in Emma ............................................................8

3.1 Verbal Irony ..........................................................................................................8

3.1.1 Verbal Irony on Emma ............................................................................... 9

3.1.2 Verbal Irony on Harriet ............................................................................ 11

3.1.3. Verbal Irony on Knightley .......................................................................13

3.1.4 Verbal Irony on Mrs. Elton & Mr. Elton .................................................. 15

3.1.5 Verbal Irony on Frank Churchill .............................................................. 17

3.2 Situational Irony .................................................................................................19

3.3 Dramatic Irony ................................................................................................... 20

3.4 Philosophical Irony ............................................................................................ 22

3.5 Structural Irony .................................................................................................. 24

3.6 Narrative Irony .................................................................. 25

3.6.1 Change of Narrator and Narrator’s Point of View .................................. 25

3.6.2 Free Indirect Speech ............................................................................... 28

3.6.3 Character Design .....................................................................................29

3.6.4 Setting ..................................................................................................... 31

Chapter 4 Conclusion .................................................................

33Bibliography ............................................................................

Chapter 1 introduction

Chapter 1 Introduction

1.1 Jane Austen and Her Irony

As a distinguished British woman novelist in the 19th century, Jane Austen was

talented in the description of her heroines in details. And ironic skills are frequently

used in her novels, on which, for nearly 200 years, people have never been tired of

making comments. Among her famous novels such as Pride and Prejudice,Mansfield

Park,Northanger Abbey and Persuasion, “Emma was Austen’s best novel, almost

perfect one” (Craik 193) and is certainly the “most mature one with fabulous writing

skills of irony” (Craik 193). And many other insightful critics realized the value of

Jane Austen. Sir Walter Scott thought highly of her ability to render “ordinary

commonplace things and characters interesting” (Scott 85), a Scottish writer Macaulay

and George Lewes, who was an English philosopher and critic of literature and theatre,

regarded her as no less than a “prose Shakespeare” (Lewes 46), and in the twentieth

century Brigid Brophy who was an English Novelist and essayist, described her as “the

greatest novelist of all time” (Brophy 21). However, these influential

nineteenth-century critics only analyzed the general qualities of her works and little

substantial criticism appeared during the first half of the nineteenth century.

In the second half of the nineteenth century, Jane Austen’s nephew who named

James Edward Austen-Leigh, published A Memoir of Jane Austen, a detailed

bibliography of Jane Austen in 1870. Also in 1870, Richard Simpson, who was a

British Roman Catholic writer and literary scholar, for the first time brought forth the

issue of irony in Jane Austen’s novels. During this period, Jane Austen was described

as a “benign and pious spinster aunt” (Simpson 49), a fact that in inhibited the progress

of serious Austen criticism. Thus, although both Jane Austen and her works received

increasing attention at the end of the nineteenth century, her works remained for

twentieth-century critics to explore in depth various facets of Jane Austen’s

craftsmanship.

Modern Austen criticism began with the publication in 1939 of Mary Lascelles’s

Jane Austen and Her Art, the first comprehensive study of the author and her works.

Since then critics have analyzed such aspects of Jane Austen’s novels as structure,

language, characters, irony, and sociological background. Norman Page focused on

Irony Study in Jane Austen’s Emma

Jane Austen’s Language in his the Language of Jane Austen (1972). Succeeding to

Richard Simpson, D. W. Harding analyzed Jane Austen’s irony from the angle of

psychology in his article “Regulated Hatred: An Aspect of the work of Jane Austen” in

1940. Marvin Mudrick who was the creator of the university’s College of Creative

Studies, further developed D. W. Harding’s approach in the study of Jane Austen’s

irony in his Jane Austen: Irony as Defense and Discovery in 1952. Reuben Arthur

Brower and Lionel Trilling who was an American literary critic and author, also

originally commented on the irony of Jane Austen in their analysis of her Pride and

Prejudice and Mansfield Park respectively. In an article “Character and Caricature in

Jane Austen”, D. W. Harding analyzed Jane Austen’s delineation of characters

thoroughly. Douglas Bush, Mark Schorer and others have discussed the sociological

background of Jane Austen’s novels. A great number of books and articles appeared in

recent years, including F. B. Pinion’s A Jane Austen Companion: A Critical Survey and

Reference Book (1973), Karl Kroeber’s Jane Austen: Bicentenary Essays (1975), Julia

Prewitt Brown’s Jane Austen’s Novels: Social Change and Literary Form (1979),

Michael William’s Jane Austen: Six Novels and Their Methods (1986), Vivien Jone’s

How to Study a Jane Austen Novel (1987), Laura G. Monneyham’s Romance,

Language and Education in Jane Austen’s Novels (1988), Penelope Joan Fritzer’s Jane

Austen and Eighteeth-Century Courtesy Books (1997). And many articles about Jane

Austen’s point of view of marriage, dramatic irony and characters can be found in

China since the 1980’s.

Richard Simpson was the first one to bring forth the issue of irony in Jane Austen’s

novels in 1870, “criticism, humor, irony, the judgment not of one that gives sentence

but of the mimic who quizzes while he mocks, are her characteristics”(Simpson 53). D.

W. Harding, Marvin Mudrick, and some other researchers suggested that there was a

darker side to Austen’s irony and humor. Harding analyzed the irony in Jane Austen

from the angle of psychology in his article “Regulated Hatred: An Aspect of the Work

of Jane Austen” in 1940. He thought that Jane Austen was a delicate satirist, revealing

with inimitable lightness of touch the comic foibles and amiable weaknesses of the

people whom she lived amongst and liked. He pointed out that the aim of Jane

Austen’s irony is “the more desperate one of merely finding some mode of existence

for her critical attitudes”, which “part of her aim is to find the means for unobtrusive

spiritual survival” (Harding 121). In Mudrick’s view in the book Jane Austen: Irony as

Chapter 1 introduction

Defense and Discovery which published in 1952 Jane Austen: Irony as Defense and

Discovery, Austen’s use of irony is the primary characteristic of her fiction, the one

that reveals her ambivalent perspective on the social values of her world.

Different from the above mentioned critics’ views, Lionel Trilling commented on

Jane Austen’s irony from the cultural angle, “Jane Austen’s irony is only secondarily a

matter of tone. Primarily it is a method of comprehension. It perceives the world

through an awareness of its contradictions, paradoxes, and anomalies.”(Trilling 158)

And in China, researchers also anatomize the ironical features in Emma from

various perspectives. For instance, Lin Wenchen (林文琛) explores the rhetorical irony,

dramatic irony and philosophical irony in Emma in his essay “A Tentative Comment on

the Irony in Emma” (2000). Li Dongmei (李东梅) analyzed ten examples situational

irony in Emma in her essay “The Soul of Austen----Situational Irony in Emma” (1999).

Wu Zhonghua ( 吴忠华) mainly analyzes the situational irony from the theory of

graphic interpretation. All these researches have offered a good foundation for my

thesis.

1.2 Purpose and Organization of the Thesis

Analyzing on the basis of previous researches and supporting with more examples

from the text of Emma, I attempt to integrate Austen’s writing of verbal irony,

situational irony, dramatic irony, structural irony, philosophic irony so as to make a

more comprehensive study on the author’s writing skills as well as a better

understanding of the novel itself. Besides, I try to explore the narrative irony in Emma

by digging the narrative elements appearing in the novel and bridging the connection

between irony and narrative.

After giving a Literature Review in Chapter 2 of my thesis, Chapter 3 discusses the

different kinds of ironies appearing in Emma, including verbal irony, situational irony,

dramatic irony, structural irony, and philosophical irony. Verbal irony is in close

connection with characters’ dialogues. The author hides the ironic meaning under the

literal meaning of their speeches. So Chapter 3.1 aims to find such ironic languages on

Emma, Harriet, and Frank, and to see how Emma achieves an ironic effect by wittily

creating these dialogues. Chapter 3.2 explores the situational irony. Situational irony

emphasizes the irony in a certain situation. It is the irony that is only set for a given

situation with proper characters. The objective of the situational irony is to neglect or

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摘要：

1ContentsAcknowledgements……………………………………………………….iAbstract….……………………………………………………………….ii摘要………………………………………………………………………ivChapter1Introduction.................................................................11.1JaneAustenandHerIrony.............................................................................

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