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The Re-discovery of Austen’s Fragment, The Watsons
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Jane Austen’s fragment, The Watsons, has received very little critical attention as a literary work, even less than Austen’s another fragment, Sanditon, phenomenon of which is more apparent in recent Austen studies. The central issues that most of critics have raised about the fragment revolve around the question of why it was left unfinished, a question which has been mostly discussed in the author’s biographical context, thereby not going further to fully appreciate the fragment’s literary value. Unfinished as it is, however, The Watsons calls for minutely-tuned reading in its own as it requires a new critical approach in its relation to Austen’s sustained interest in women’s problematic relation to their society’s demand. Looking beyond the previous study’s homologous views that either biological or aesthetic problems prevent the author from resuming the fragment, this study thus re-opens the old issues with a new question: how and why Austen made herself felt in her narrative distance from the heroine, Emma Watson. If Emma is ‘too good,’ as critics have argued, it is not because Austen is too close to her heroine, losing her narrative control; it is rather because Austen invites the reader into Emma’s self-reflective moral sensibility through which the reader is made to see how the social norms of propriety lead her to be too refined and too good at once.
Abstract
Jane Austen’s fragment, The Watsons, has received very little critical attention as a literary work, even less than Austen’s another fragment, Sanditon, phenomenon of which is more apparent in recent Austen studies. The central issues that most of critics have raised about the fragment revolve around the question of why it was left unfinished, a question which has been mostly discussed in the author’s biographical context, thereby not going further to fully appreciate the fragment’s literary value. Unfinished as it is, however, The Watsons calls for minutely-tuned reading in its own as it requires a new critical approach in its relation to Austen’s sustained interest in women’s problematic relation to their society’s demand. Looking beyond the previous study’s homologous views that either biological or aesthetic problems prevent the author from resuming the fragment, this study thus re-opens the old issues with a new question: how and why Austen made herself felt in her narrative distance from the heroine, Emma Watson. If Emma is ‘too good,’ as critics have argued, it is not because Austen is too close to her heroine, losing her narrative control; it is rather because Austen invites the reader into Emma’s self-reflective moral sensibility through which the reader is made to see how the social norms of propriety lead her to be too refined and too good at once.
참고문헌 (23)
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