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Jane Austen's Emma Beautiful dresses, passionate romances, elegant parties, an over-all condition of leisure and pleasure - these are just a few of the idealistic sights of the nineteenth century. In her novel, Emma, Jane Austen paints a more practical picture of the intricacies of high culture in England of the 1800’s. Through the presumptions and satisfaction of the personas of heroine, Emma Woodhouse, and secondary personality, Mrs. Elton, Austen presents a stark critique of the interpersonal assumptions and diplomatic maneuvering so common of the culture of her time, nevertheless, by the ultimate end of the novel, Austen’s critique is manufactured clear by a delicate foil of the two heroes - Emma having been the only person of the two to understand her lesson. Both these two ladies, each saturated in status, display relatively of a god-complex, taking it upon themselves to aid partially, but mostly re-mold, females whom they look at as inferior compared to themselves. Though Mrs. Elton will this in a significantly less tactful and even more forceful method, she and Emma both look at their particular pupils as a pawn to end up being toyed with and, ultimately, a screen of their superiority. Emma’s fancies of becoming a puppet-master start when she is in the ongoing company of Harriet Smith, a girl going to Mrs. Goddard’s boarding college. Austen tells Emma’s thoughts, writing, “She'd notice her improve her detach her from her poor acquaintance, and expose her into great society; she'd be shaped by her views and her manners. It would be a fascinating, and an extremely kind undertaking certainly; becoming her own situation in life highly, her leisure and powers” (37-38). This passage makes obvious Emma’s intentions of whittling Harriet into what Emma considered best, never to better Harriet’s situati just...