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|The Beauty of Harriet and the Credit of Emma
Written by Robbin
(4/1/2008 11:20 a.m.)
She had soon fixed on the size and sort of portrait. It was to be a whole-length in water-colours, like Mr. John Knightley's, and was destined, if she could please herself, to hold a very honourable station over the mantelpiece. (Chapter 6)
…she had great confidence of its being in every way a pretty drawing at last, and of its filling its destined place with credit to them both -- a standing memorial of the beauty of one, the skill of the other, and the friendship of both; with as many other agreeable associations as Mr. Elton's very promising attachment was likely to add. (Chapter 6)
I found Chapter 6 to be very amusing and all at Emma’s expense. Emma has no doubt Harriet’s fancy is now taking a proper direction, assuring her of Mr. Elton’s admiration and giving her agreeable hints while also confident of Mr. Elton’s “being in the fairest way of falling in love, if not in love already.” Secure of her success, I think the portrait of Harriet while supposed to inflame the passions of Mr. Elton also seems intended to be a monument to Emma’s skills as an artist and matchmaker.
Mr. Elton seemed very properly struck and delighted by the idea, and was repeating, "No husbands and wives in the case at present indeed, as you observe. Exactly so. No husbands and wives," with so interesting a consciousness, that Emma began to consider whether she had not better leave them together at once. But as she wanted to be drawing, the declaration must wait a little longer. (Chapter 6)
Particularly funny to me is that Emma thinks Mr. Elton might be on the verge of proposing to Harriet and perhaps she should leave them alone for his convenience but she so much wants the portrait that instead of instigating what she thinks would be the successful conclusion of her efforts she decides Mr. Elton’s declaration must wait in favor of gratifying herself. (;D)
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