爱玛人物性格分析

合集下载

《爱玛》中爱玛的人物形象分析爱玛是怎样的人

《爱玛》中爱玛的人物形象分析爱玛是怎样的人（最新版）编制人：__________________审核人：__________________审批人：__________________编制单位：__________________编制时间：____年____月____日序言下载提示：该文档是本店铺精心编制而成的，希望大家下载后，能够帮助大家解决实际问题。

文档下载后可定制修改，请根据实际需要进行调整和使用，谢谢!并且，本店铺为大家提供各种类型的经典范文，如诗歌散文、原文赏析、读书笔记、经典名著、古典文学、网络文学、经典语录、童话故事、心得体会、其他范文等等，想了解不同范文格式和写法，敬请关注!Download tips: This document is carefully compiled by this editor.I hope that after you download it, it can help you solve practical problems. The document can be customized and modified after downloading, please adjust and use it according to actual needs, thank you!In addition, this shop provides you with various types of classic sample essays, such as poetry and prose, original text appreciation, reading notes, classic works, classical literature, online literature, classic quotations, fairy tales, experience, other sample essays, etc. if you want to know the difference Please pay attention to the format and writing of the sample essay!《爱玛》中爱玛的人物形象分析爱玛是怎样的人【导语】：奥斯汀《爱玛》是一部很经典的小说，关于爱玛的人物形象是怎样的一直受到关注，本店铺来给大家介绍爱玛是怎样的人。

从《包法利夫人》中浅谈爱玛的典型人物形象

从《包法利夫人》中浅谈爱玛的典型人物形象从《包法利夫人》中浅谈爱玛的典型人物形象摘要：《包法利夫人》中的女主人公爱玛·包法利她将“爱”作为自己的唯一的人生寄托和理想，却在追寻“爱”的过程中逐渐迷失在情欲的诱惑和物欲的享受中不可自拔。

她不惜背叛现实世界的伦理道德来追求她理想世界中那个浪漫，美丽，自由的爱情，以至于在她所幻想的理爱情一再破灭后，债台高筑高台的爱玛只能在走投无路中结束了短暂的一生。

爱玛这一典型人物经过作家的艺术加工后更能显示人物自身的特征性，是一个具有丰满，鲜明而独特性格又包含了普遍性与深刻意蕴的人物形象。

关键词：爱玛典型人物反思（一）《包法利夫人》中爱玛的人物经历爱玛是一个富农的女儿从小在修道院里接受过贵族式的教育, 在那里她学过刺绣, 钢琴和画画与此同时她也阅读了大量浪漫主义的小说。

她深信自己能够得到了那种浪漫到不可思议的爱情, 因此选择了结婚。

嫁给了一个才貌平平的乡村医生夏尔·包法利，夏尔既没有主见，又没有才干，举止毫无风度，谈吐枯燥乏味，在婚后不久, 她便对夏尔感到各种不满。

虽然包法利确实深爱着她, 但却不是爱玛所希望的那种爱，爱玛渴望的是那种高贵的享受的生活方式而他表达爱却是实实在在的,缺乏了激情和浪漫。

她对包法利带给她平淡的没有激情的人生感到很失望，在遇到了风度翩翩的租客莱昂时她选择了出轨与莱昂相爱，被抛弃。

之后她又遇见了罗多尔夫，他是爱耍心机，玩弄女人的人，单纯的向往着浪漫爱情的爱玛很快又坠入爱河但又很快就被罗多尔夫所抛弃。

一段时间的伤心难过之后，爱玛又重新遇到了莱昂与他旧情复燃，为了满足她内心对浪漫爱情的定义她不惜借高利贷来实现她的理想爱情。

当她那些所谓的浪漫爱情都幻灭时，债主也找上门来，债台高筑的爱玛只能在走投无路之下选择了服毒结束短暂的一生。

（二）爱玛这一典型人物的刻画方式艺术源于生活，小说是允许虚构的。

在这一点上福楼拜的小说创作中可以明显感觉出他对内容真实性的把握。

奥斯丁笔下爱玛女主人公的形象分析

一、爱玛的中上流阶层的傲慢与偏见,使得她主要根据人们的社会地位来衡量所有的人。

在海伯里的乡村,爱玛的家庭——伍德豪斯家族在财富以及社会地位上等级均居首位。

作为这样显赫家庭的女儿,她深受家族传统的观念的影响,认为任何人的社会地位都是由他的财富决定的,而下等阶层在很多方面都是卑劣的。

因此,爱玛总是瞧不起下层的那些人。

在去里士满的途中,爱玛遇见了贝茨夫人——海伯里前教区牧师的遗孀,和她惟一的女儿艰难度日,而且激起大家对一位无为的老太太所能产生的全部敬意。

爱玛知道贝茨夫人比她贫穷很多,因此她无礼傲慢地对待贝茨夫人,并且以讽刺的言语来侮辱她。

爱玛如此傲慢势利甚至残酷的这段情节给读者留下了深刻印象。

事实上,是她的傲慢和偏见使她无意识地超越了行为准则。

这种傲慢和偏见进一步表现在她做媒中。

爱玛热衷于做媒。

她两次给哈丽特·史密斯做媒,但是均以失败告终。

其失败的原因主要是她对哈丽特的偏见以及对罗伯特·马丁的反感。

这里举个例子,当爱玛第一次遇见哈丽特时,想:“那对柔和的蓝眼睛和全部的天然丽质,不应当埋没在海伯里及其周围的下等阶层中。

她已结交的熟人全都配不上她。

她刚刚离开的学友尽管都是些很好的人,但是肯定对她有害。

”[2 ]事实上,哈丽特是一个并不聪明的弃儿,但是她体贴、迷人、温顺却又毫无主见。

在哈丽特的眼中,爱玛是哈特费尔德如此显赫的名流,以至于哈丽特惟一的愿望便是接受某个高高在上者的指引。

她希望和中等阶层建立联系,特别是能嫁给富有的男士,从而可以改变她的生活方式。

但最后,她发现她的血统是实现她梦想的一个很大的障碍。

读者注意到,第一次见面时,哈丽特的容貌是让爱玛喜欢她的原因之一。

然后,爱玛猜想哈丽特的父亲一定是一个拥有巨大财富的绅士,尽管事实上没人知道哈丽特的父亲是谁。

在这种偏见下,爱玛断言:“马丁家的人准是些粗俗不雅的人,根本不适合跟一位知识和风度几近完美的姑娘进行紧密交往。

”[2 ]在爱玛眼里,仅仅凭马丁家从奈特利先生家租种了农田这一点,就断定罗伯特·马丁仅仅是一个粗俗的农夫,而他的妻子也应该只是个没受过教育的农夫的女儿。

浅析《包法利夫人》中“艾玛”的形象

迷失于超现实理想的女人——浅析《包法利夫人》中爱玛的形象福楼拜的著名小说《包法利夫人》中的主人公爱玛因不满于婚姻的平淡而去追寻理想的爱情生活，她先是与人私通，被无情抛弃后，又与人偷情，后来也被遗弃，而她在追求所谓理想爱情的过程中，不仅耗尽了包法利的全部家财，也使自己债台高筑，在爱情的幻灭和债务的催逼下，只得服毒自杀。

本文拟从爱玛对爱情的一生追求来探讨她这种超现实理想爱情追求背后的悲哀，从一步步迷失的悲剧成因中分析爱玛的形象。

一、在脱离现实的教育中建立完美的理想爱玛是法国外省乡下的一个富裕佃农的女儿,她的少女年华正是在一个浪漫主义余波未平的时代度过的。

作为一个花季少女,爱玛本身就喜好幻想。

她十三岁时,其父卢欧老爹自命不凡,自己无法涉足上流社会生活,却把希望寄托在女儿身上,把她送到附近一个修道院接受贵族教育,他没想到,这反而毁了女儿一生。

这是一种脱离实际的、神秘的、虚幻的教会教育,往往向人灌输一些消极、颓废的知识,教室里温暖的气氛、戴铜十字架念珠，而且面色苍白的修女、圣坛的芳香、圣水的凛冽和蜡烛的光耀散发出一种神秘的魅力,更是刺激了这位天性不安分的少女的心:“她不听弥撒,只死看书上天蓝框子的圣画;她爱害病的绵羊、利箭穿过的圣心或者边走边倒在十字架上的可怜的耶酥。

”“布道中间,往往说起的比喻,类如未婚夫、丈夫、天上的情人和永久的婚姻,在灵魂深处,兜起意想不到的喜悦。

”还有时常来修道院做女红的一个老命妇、一个没落贵族世家的老姑娘,一边捻针走线,一边低吟前世纪一些情歌兜里常带有一部传奇小说,“书上无非是恋爱、情男、情女、在清冷的亭里晕倒的落难命妇、站站遇害的驿夫、页页倒毙的马匹、阴暗的森林、心乱、立誓、呜咽、眼泪与吻、月下小艇、林中夜鹰。

”她读司各特的作品,也往往醉心于白羽骑士与女庄园主的恋情。

在修道院中耳闻目睹的这些,她深受感染与熏陶,她想入非非,对现实一无所知。

从此以后,爱情成了她惟一的追求,而修道院的这一段生活极大地影响了她的人生观和爱情观。

[《爱玛》中“爱玛”的性格分析]爱玛中女性人物性格分析

[《爱玛》中“爱玛”的性格分析]爱玛中女性人物性格分析《爱玛》是18世纪末19世纪初英语著名女作家简奥斯汀所著六部长篇小说之一,于1815年出版,被相当一部份评论家看作是她最成功的作品。

但它却并不如作者的另一部作品《傲慢与偏见》引人注目。

而我在一口气读完这部作品之后发现不管在人物性格的塑造上还是在故事情节发展上,《爱玛》都是较为成熟的。

小说通过海伯里小村中的人与事,刻画出19世纪初英国中产阶级社会的众生相。

主要情节围绕女主人公爱玛与村中几个主要家庭中人物的关系展开。

爱玛是个“又漂亮,又聪明,又有钱”的年轻姑娘,由于具有这般得天独厚的条件,不禁有点“自视过高”,因而喜欢“随心所欲”。

她自己打定主意不结婚,却热衷于给别人牵线搭桥。

而她给别人做媒,每每不是“按照情理”,而是“凭着异想天开或一时冲动”,乱点鸳鸯谱,结果闹出许多笑话,吃了不少苦头。

不过,爱玛虽然没给别人撮合成一门亲事,但她自己最后却坠入了情网,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。

二、爱玛的性格缺陷(一)势利的爱玛小说一开始,爱玛就暴露出她在道德方面的不完善。

她非常势利、自私、保守和主观,但她却从未意识到这些是她的不足,相反,她总是自我感觉良好,心安理得。

生于富裕的乡绅士家,爱玛从小受到良好教育,但她却很势利。

她瞧不起一切地位低,家境不如她的人。

她经常教育哈里特:要注意自己现在的身份,要同那些地位低,没教养的人划清界线,别跟他们扯上关系。

(二)自私的爱玛爱玛也很自私。

首先表现在“令人难过的事―令人略感难过的事―终于降临了―但又决非以令人不快的方式出现的,泰勒小姐结婚了。

”她从没想过是自己耽误了泰勒小姐的青春和幸福。

另外,爱玛做事也总是从自己的喜恶出发,很少在意别人的感受,这点可在她百般阻止哈里特接受马丁求婚的事情上略见一斑。

(三)主观的爱玛爱玛的主观臆断在小说里也表现得非常突出。

她从来都是按照自己的意愿行事,很少听得进别人的意见,除非当她意识到自己错了。

《包法利夫人》主要人物剖析[指南]

《包法利夫人》主要人物分析一.在现实生活中惨遭摧残的浪漫主义者------爱玛爱玛是一个农家的女儿，在修道院受过贵族化的教育，读过许多浪漫主义的小说，她瞧不起当乡村医生的丈夫的平庸无能，梦想着传奇式的爱情，她的第一个情人是一个道德败坏的乡绅（罗多尔夫），第二个情人是个自私怯懦的文书（莱昂）。

她的偷情没能给她带来幸福，倒给投机商人带来了可乘之机，使她成为高利贷者剥削的对象，最后她积债如山，无法偿还，丈夫的薄产已被她挥霍殆尽，情人又不肯伸出援手，她在山穷水尽，走投无路的情况下，只好服毒自尽。

从宏观上看，爱玛的性格集浪漫，激情，狭隘，虚荣于一身。

渴望着与骑士一样的男子谈轰轰烈烈的爱情，时时内心都憧憬着甜蜜，她把爱情想象为“一只披满粉红色羽毛，在富有诗情画意的瑰丽天空中翱翔的大鸟，藏在她心里”，认为爱情“应该突然而降，伴随着巨大的轰鸣和闪电------就如同猛然扑向人间的暴风雨，让人世间都感到震惊；犹如狂风扫落叶，把意志夺走，把整个心灵带往深渊”。

她有着超常的激情和充沛的精力，她和罗多尔夫骑马到野外回来后，觉得自己又有了个青春期，她早上天还没亮就去和情人约会，晚上夜深人静又去和情人约会。

她狭隘，因为她的心仅局限于对浪漫爱情的幻想，她的眼光很少触及到她身边那位对她一心一意的丈夫，她看到她周围的那几类人就以为看到了整个社会，看到了一个舞会，就以为看到了整个巴黎。

她虚荣，刚结婚就大量购置豪华家具，身无分文了还赊购名贵衣物，她总是希望丈夫名扬天下，总想着能过上贵妇的生活。

这仅仅是我们从表象上观察的爱玛，如果从另一个角度去解读她，我们会发现，爱玛虽然是一个失足女人，但她并没有什么与生俱来的坏秉性，而生活却无可挽回的把她推向深渊。

爱玛生活在复辟王朝后期与七月王朝统治时期，这是法国历史上一个新旧势力激烈搏斗的时期，经过大革命打击的封建贵族们，在拿破仑失败后又杀了回来，企图恢复往日的生活方式，拿破仑时代的英雄主义风气被奢靡，腐败，虚伪，矫饰的贵族之风所取代。

从性格方面剖析爱玛的心智成熟历程

On Emma’s Mental Maturity from the Perspective of Her Personality ReformationApplicant:AmySupervisor:Faculty:College of Foreign Languages… UniversityApril 12, 2010摘要《爱玛》是简·奥斯丁的一部比较成熟的作品，她笔下的爱玛性格复杂。

这部作品描写的是爱玛在经历了一个个错误之后，抛弃幻想，获得自我，最后步入成熟。

本文主要从性格方面来剖析爱玛的成长，爱玛在生活中经历了种种挫折与失败，但她能在这些过程中吸取经验和教训，并逐步走向了成熟，表现了19世纪初女性在社会发展中的成长与进步，同时也启发现代女性要在性格方面逐步完善自我，从而更好地展现成熟魅力。

本文在国内外研究的基础上首先浅析爱玛的性格缺陷：自负、势力、主观。

然后重点以爱玛身边的主要人物，如奈特利先生和哈丽特小姐等为独特视角来看她心智走向成熟的过程以及她自始至终的转变，并从爱玛自身及当时社会背景分析了转变的原因。

最后运用了心理学理论进一步阐述了转变后的爱玛新形象：认清现实，认清自我，并且能虚心改正自身的性格缺点，这样读者能更好地了解爱玛这个人物形象。

关键词：爱玛性格缺陷性格转变心智成熟心理学AbstractEmma is a relatively mature work by Jane Austen, in which Emma has complicated personality, and she abandons illusionary, gains her own identity and finally makes a step to mental maturity after suffering so many mistakes. In this paper, Emma’s growth is mainly analyzed from the perspective of her personality. Though Emma has suffered kinds of setbacks and failures, she gradually goes to maturity by gaining experience and education, which demonstrates women’s growth and progress in the early 19th century, and also inspires modern women to gradually improve themselves in personality and better present maturity charm. This paper is based on domestic and foreign researches, first analyzes Emma’s personality defects: self-conceit, snobbery and subjectivity, then illustrates the process of Emma’s mental maturity and her personality reformation from the special perspective of some surrounding characters such as Mr. Knightley and Harriet, also analyzes the causes of her better changes from her self-consciousness and social background. At last, it applies psychology theories further to present a new image of Emma: confronting the reality, gaining autonomy and modestly correcting her personality defects, which makes readers understand the character Emma better.Key Words: Emma, personality defects, personality reformation, mental maturity, psychologyContentsIntroduction (1)1. Emma’s Personality Defects (2)1.1 Self-conceit (2)1.2 Snobbery (3)1.3 Subjectivity (4)2. Emma’s Personality Reformation (5)2.1 Through Her Relationship with Surrounding Characters (5)2.1.1Reined Back by the Reasonable Knightley (5)2.1.2 Mirrored by the Tractable Harriet (6)2.1.3Nurtured by the Kind Bates (7)2.1.4 Convinced by the Talented Jane (8)2.2 Causes of Emma’s Personality Reformation (9)2.2.1 Emma’s Self-consciousness (9)2.2.2 Society’s Demands (10)3. Emma’s Mental Maturity (11)3.1 Correct Recognition of Herself (11)3.1.1Abandonment of Illusion & Reality Confronting (11)3.1.2 Improvement of Identity & Autonomy Gaining (12)3.2 Modest Correction of Her Personality Defects (14)3.2.1 Self-reflection (14)3.2.2 Others’ Influence (15)Conclusion (17)Bibliography (18)IntroductionThe English writer Jane wrote Emma in 1815, the most mature one in art and in thought among all her works. This novel centers on the heroine Emma’s choice of spouse for others, in which her words and behaviors are ridiculous, but her mental maturity is well presented with the unfolding of the story.Indeed, Emma has her personality defects, she overlooks herself because of uniquely favorable conditions, and she has her own way to do matchmaking, without taking account for reality. Therefore, as to the heroine, Austen (1994:3) even claims Emma whom no one but herself will much like. To mention Emma’s imperfection, Arnold Keitel’s opinion (1985:74) is that Emma is not a commonly so-called positive heroine. Also, Craik (1965) points out that the heroine Emma is almost cruelly treated and in every paragraph she is described to have faults out of her foolishness, vanity, ignorance and her selfishness. However, some scholars see Emma’s personality reformation, though they have not detailed explanation. For example, Li Zhengshan (1996:75) thinks that Emma is a new woman image who is finally brave to confront the reality, receive others’advice and correct her own faults. Li Yunxia (2002:56) also notices that there is always a paragraph describing Emma’s self-blame after her fault behaviors. The most important is that the critic Mark Scholer (1985:102) carefully analyzes the whole structure of the plot, and he finds that there is hardly perceivable reformation of Emma’s personality in scenes consisting of different characters. And Sun Hongfei (2009:109) in his paper Emma, the Harbinger of Bildungsroman in England, points out that Emma gains experience and education through various setbacks and failures. However, all these analyses do not delicately make a research for the process of Emma’s mental maturity in her personality, and the new image of Emma is not presented concretely, either. Therefore, in this paper, Emma’s personality defects will be presented in Chapter Two. And in Chapter Three,from the special perspective of the relationship between Emma and some surrounding characters, how her personality reforms will be well interpreted, also the causes of her reformation will be analyzed. And the new image of Emma with mental maturity after experiencing so much will be detailed presented in Chapter 4.Finally, a general conclusion about the paper will be made and some researching limits also will be pointed out in Chapter 5.1. Emma’s Personality DefectsIn the beginning of the novel, Emma is introduced to be the mistress of the house from a very early period, always does just what she likes, and is〝in a disposition to think a little too well of herself〞(Austen, 1994:13). Emma has become quite intelligent and educated, but her increasing knowledge, authority, and power contribute to her many faults:〝She is a spoiled child. The real evils of Emma’s situation were the power of having rather too much her own way.〞(Pollemus Robert, 1980:56).Indeed, Emma is self-conceited, snobbish and subjective; however, she is not aware of these defects at the very beginning.1.1 Self-conceitIn Jane Austen’s view, Emma’s self-conceit is the fault of her nature. Her existence has been too privileged; she has been made to feel too important. When introducing Emma in the beginning, Austen uses such vague adjectives as〝handsome〞,〝clever〞,〝with a comfortable and happy disposition〞and〝seemed to unite some of the best blessings of existence〞(Austen, 1994:11).All these words apparently seem commendatory, because Emma’s grace and beauty are well described, but in fact they are satiric and negative, embodying Emma’s self-conceit to some extent.Because of her cleverness, Emma has elitism for her intelligence, confidentlybelieving that she possesses preeminent knowledge and in Highbury nobody is evenly matched with her. Due to Emma’s high social rank and her privileged family background, she never yields to anyone. On contrary, she holds and insists her own judgments. As Austen describes, Emma is the first mistress in Highbury, so in her eyes she is superior compared to others not only in material but in spiritual aspect. What’s more, Emma likes to control others’ thoughts and feelings, always thinking her own are better. For example, about Harriet’s inner love to Martin, Emma prevents the love process by her so-called cautious considering. Actually, Emma always keeps the role of mistress spiritually, and she prides herself on her distinctive ideas.1.2 SnobberyDuring the development of Emma, the title heroine, her indulgence in flights of fancy and her sense of superiority cause her to misguide Harriet Smith and treat others unjustly. Emma’s opinion and treatment of Robert Martin, a lower class farmer, is the very example, because she believes that he is a very〝unfit〞match for Harriet Smith due to his lower class rank:They were a family of the name of Martin […] but they must be coarse and unpolished, and very unfit to be the intimates of a girl who wanted only a little more knowledge and elegance to be quite perfect. (Austen, 1994:14-15)Emma’s thoughts of Mr. Martin clearly illustrate the prejudice that the upper class has towards the lower class. Craik even calls her〝a social snob, and looks down upon Martin, such an assiduous and kind man.〞(1965:126) Emma insists that property and social rank is the key to marriage, so she always tells Harriet that they should fit their own position, and draw a clear line of demarcation with those who are uneducated or in the lower class , and even seriously warns Harriet not to have any relationship with them. Also when Mr. Elton proposes to her, she never thinks of him as an equal, because she is superior to him in wealth, social rank and appearance, undoubtedly she reckons that Mr.Elton can’t match with her, even despising this man in the bottom of her heart.1.3 SubjectivityEmma’s subjectivity and supposal are also reflected conspicuously. She always does things according to her own will, hardly listening to others’opinions, except that she realizes her own faults. Mainly the superior social rank causes Emma to arrange for others’ fate irresponsibly, so she always takes so active a part in bringing any two people together, and it is adventuring too far and assuming too much to make what ought to be serious a trick.Emma’s first act in the novel is to congratulate herself on what she imagines to be her role in successfully doing matchmaking for Miss Taylor. Her fancy and imagination of people’s lives is based on a false perception of reality. She is referred to as an 〝imaginist〞(Li Yunxia, 2002:58).Then she concentrates on the prospect of making something of her friendship with Harriet. She fashions a match between Harriet and Mr. Elton, and persuades Harriet into a fanciful contemplation of the man, but actually Mr. Elton is attracted by Emma herself.Another example is that Emma indulgently imagines Frank’s return to court her. Emma for a while believes herself to be in love with Frank Churchill. She also imagines herself just like the subject of Frank’s mediation, as he is at the moment the subject of hers.〝No, if he had relieved me at all to share his feelings, he would not have been so wretched〞(Austen, 1994:190). But after〝forming a thousand amusing schemes for the progress and close of their attachment〞(190), she decides the answer is〝No〞, and regards Harriet as the object of his affections. Especially his rescue of Harriet from the Gipsies sets Emma〝on fire with speculations and foresight!〞(242), she believes that they must be in love but in fact Frank has got engaged to Jane Fairfax.2. Emma’s Personality ReformationIn the novel, many of Emma’s behaviors are unsatisfactory, one fault after another. But from the delicate description, we know Emma has suffered a lot and she gradually recognizes her personality defects, in which she also has a hardly perceivable reformation in personality.2.1 Through Her Relationship with Surrounding CharactersThrough many small stories in the relationship between Emma and some surrounding characters, Emma herself has some personality reformation. Especially Mr. Knightley, as a reliable guide and a mentor, corrects Emma’s judgments and helps her growth. Meanwhile, Harriet Smith, a tender and tractable girl, is arranged as mirror to reflect Emma’s thoughts and her final introspection. In addition, kind Bates and talented Jane also help Emma’s personality reformation.2.1.1Reined Back by the Reasonable KnightleyTo recognize the mistakes and realize Emma’s final reformation, Mr. Knightley is arranged as the chief corrective. The role of Mr. Knightley does not only bring Emma the beginning of a new life, but correct her every fault, even blame her as a frank tutor (Sun Hongfei, 2009:110).Due to Emma’s early loss of the mother, her father’s weakness, and her governess, Miss Taylor’s sisterly companion rather than an authority figure, Emma has assumed the role of mistress and exercised the independent will like a male adult, so she requires a man to rein her in and create boundaries to her will. Luckily comes Mr. Knightley,〝a sensible man about seven or eight-and-thirty, was not only a very old and intimate friend of the family, but particularly connected with it as the elder brother of Isabella’shusband.〞(Austen, 1994:7). Mr. Knightley represents everything including mental strength, social savvy and assertiveness. In this sense, Mr. Knightley seems a reliable figure and model for Emma.Indeed, as a frank and reasonable lover, Mr. Knightley’s commentary on Emma’s errors is reliable and good-willed. He appoints himself the role of teacher and mentor, instinctively longing to mold and improve his beloved Emma’s personality. In the novel, he tells Emma precisely where her mistakes lay; each of his affirmation of a value and each of his accusation of error are to the point and do Emma much good. For example, he rebukes Emma for manipulating Harriet by unrealistically making match for her; he attacks her for superficiality and pride; he condemns her for gossiping and flirting with Frank Churchill; and he blames her for being disrespectful and unfeeling in treating Miss Bates. Each time after his criticize, Emma grows mentally and makes a step to maturity.On the whole, Mr. Knightley is〝one of the few people who could see faults in Emma Woodhouse and the only one who ever told her of them〞(Austen, 1994:8). For most time Mr. Knightley’s conduct is without blame and also his judgment is unshakable, and the sixteen years’ difference in age between him and Emma enables him to be mentally mature compared to Emma. Without Mr. Knightley’s frank criticism, Emma’s growth and personality reformation can not be achieved so easily.2.1.2 Mirrored by the Tractable HarrietHarriet Smith is really a minor character in Emma.In spite of Harriet’s minor importance, she is so frequently communicated with Emma that she has woven into almost every events Emma encounters. Also Emma always thinks of her and cares for her even when Harrier is not on the spot. Therefore, it can be concluded that in fact Harriet occupies a rather important role in Emma’s personality reformation, and she can be looked as a mirror of Emma’s introspection.At first, in Emma’s eyes, Harriet is just an inadequate substitute for Miss Taylor.And Emma is so delighted at her role in Miss Taylor’s successful marriage that she decides to find a suitable husband for Harriet. Mr. Elton and Frank Churchill become Emma’s choice for Harriet. In Emma’s judgment, Mr. Elton’s eagerness about the picture of Harriet drawn by Emma shows his affection to Harriet. But the fact is what Mr. Elton has done is to flatter Emma, not Harriet. The second candidate, Frank Churchill, at one time rescues Harriet from gypsies’ assailment, and later overtly praises Harriet’s beauty. So Emma believes〝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.〞(Austen, 1994:301).However, it turns out that what Frank has done to Emma and Harriet is only in order to conceal his real relationship with Jane Fairfax. Therefore, Emma writes wrong answers for the tractable Harriet, and poor Harriet becomes the victim of Emma’s over self-assurance and fancy imagination. When all the facts are open, Emma has to think about her own defects. So without her manipulation of Harriet and the final failure, Emma will not recognize her personality defects and make any better change.More significantly, in addition to these two failed matchmakings, Harriet’s confession of her love to Mr. Knightley becomes a mirror to reflect Emma’s true feeling. It really helps Emma to recognize herself and especially where her own love lies. (Cui Huiyong, 2007:31) Undoubtedly, it is Harriet who makes Emma realize her affection for Mr. Knightley. Because of all the above, consequently Harriet turns out to be a mirror for Emma to introspect herself and make a progress in her personality reformation.2.1.3 Nurtured by the Kind BatesTo Emma, Miss Bates is〝a clumsy and stupid, grinning cheekily and boring〞old virgin (Liu Qing, 2008:76). Because in the novel, the presence of Miss Bates is always with her wordy talking about family trivialities, and in her words there are no logic and profundity at all. And Emma never looks squarely at Miss Bates whose social rank islower than her. Only to abide by the courtesy and norms of upper classes, Emma sometimes condescends to visit Miss Bates and her mother. But it is known to the whole Highbury that Miss Bates takes good care of her mother and often companies Mr. Woodhouse while Emma is not at home. In addition, Emma later is curious about Jane Fairfax, so she needs Miss Bates to offer some information. Compared with the kind, unselfish and responsible Miss Bates, Emma is so snobbish and selfish.Especially when they together go outing to Box Hill, Emma insults Miss Bates of her boring remarks and extreme talkativeness,〝Ah! Ma’am, but there may be a difficulty. Pardon me——but you will be limited as to number——only three at once.〞(Austen, 269).Miss Bates is extremely hurt by this comment. This insult proves to be a very tactless and unfeeling manner by Emma.Emma’s unkindness and cruelty completely shocked everyone at presence. Luckily Emma accepts Mr. Knightley’s lecture〝So unfeeling to Miss Bates. How could you be so unfeeling to a woman of her character, age and situation?〞(Austen, 271) and really realizes her own personality defects. She is angry with herself and asks herself, as she drives away from Box Hill,〝how could she have been so brutal, so cruel to Miss Bate〞, and she also asks herself,〝how have she exposed herself to such ill opinion in anyone she valued〞(Austen, 273).Therefore, the next day she goes to the Bates’to give her apology. It is obvious that from the bottom of Emma’s heart, she is nurtured by the kind Bates, and she sees Bates’ warm heart.2.1.4 Convinced by the Talented JaneJane Fairfax grows up with no advantages of connection or improvement to be engrafted on what nature has given her in a pleasing person, good understanding, and warm-hearted, well meaning relations (Austen, 178). When Jane comes back to Highbury, Emma feels she is sorry to have to pay civilities to a person she does not like! The reason may be a difficult question to answer, but Mr. Knightley’s words are quite to the point〝[…] because you see in her the really accomplished young woman, which you want to be taught yourself〞(Austen, 180). However, Emma owes it to Jane’s coldness and reserve.Especially when these two young ladies give some music in that evening at Hartfield, which makes Emma see the big difference between Jane and herself. Emma is obliged to play, and the thanks and praise which necessarily follow appeared to her an affection of candor, an air of greatness, meaning only to show off in higher style of her own superior performance. And she thinks that Jane is〝the worst of all, so cold, so cautious! There was no getting at her real opinion.〞(182) .W hat’s more, her saying〝but I hope I am not often deficient in what is due to guests at Hartfield.〞(184), which indirectly reflects that Emma realizes she is not as talented as Jane. However, responding to Emma’s insincere greeting and care, Jane is always not inclined to decline impolitely. Though Jane is short of wealth, mentally her superiority makes Emma reflect upon the past and sigh about herself〝so cold, so false! I am like putting on a play, and that is a kind of life to deceive others!〞(412).Finally, Emma said with a sincerity which no one could question〝She [Jane] is a sort of elegant creature that one cannot keep one’s eyes from. I am always watching her to admire […]〞(423). Therefore, convinced by Jane’s nice behavior and superior performance, Emma actually recognizes her own defects and inwardly decides to take Jane as a good example.2.2 Causes of Emma’s Personality ReformationIt is obvious to see that Emma suffers from her errors in the stories with some main characters. Her indulgence of imaginative fancy and a good deal of misjudgments and misperception are not the only theme of the novel.2.2.1 Emma’s Self-consciousnessTo Emma herself, she is warm-hearted and clever, adding to her superiorbackground, she is a relatively independent and advanced female compared to other women in that society. Undoubtedly, she is a woman of high authority in Highbury. Though she is conceited, snobbish and subjective, Emma finally realizes not all things are like what she thinks, and she can calm down to think and come to her senses, making analyses and judgments independently under Mr. Knightley’s education(Liu Qing, 2008:77). Especially after all the truth is open that Mr. Knightley makes a proposal to Emma, Frank Churchill makes his relationship with Jane Fairfax public and Harriet marries to Robert Martin, Emma faces up to her own defects and determines to correct them.Of course, her personality reformation is in the expectance, after all Emma is not ignorant like those who always seek for men’s protection without own minds (Liu Cunbo, 2001:36). So she realizes that she must change, especially her insulting Miss Bates in Box Hill violates her own standards as well as Mr. Knightley’s, and threatens her with the loss both of his respect and of her own esteem.2.2.2 Society’s DemandsEmma’s personality reformation is not only her own needs, but also the needs of the society, which crushes her pride and forces her to abandon her delusional system. In the 18th century,〝reason〞was a very famous term, and at the same time, morality was paid close attention to and everyone needed morality as guidance，and this thought trend lasted until the early 19th century. Thus, in some degree, Emma’s personality defects reflect her imperfect morality; therefore, she is bound to face up to change her personality better with the change of social reality. In addition, as an upper-class woman, Emma has to keep her words and behaviors fit to her position. Otherwise, she cannot honor the surrounding’s appreciation; neither can she enjoy a happy life in such a big harmonious environment (Liu Cunbo, 38).3. Emma’s Mental MaturityIndeed, Emma suffers a lot from her errors, and grows as a result of her sufferings. When Emma actually sees the harm that her errors have caused on others, even herself, she makes a step to maturity in her personality. Directed mainly by Mr. Knightley’s particular guidance, she evolves into a complete person and comes to her final mental maturity.3.1 Correct Recognition of HerselfThough Emma suffers from her errors and their harmful consequences, she can finally recognize herself correctly. On the one hand, she is aware that in marriage the reality cannot be led astray by her fancy or imagination. On the other hand, she improves her identity and gains her complete autonomy.3.1.1 Abandonment of Illusion & Reality ConfrontingFrom the very beginning, Emma just does matchmaking for Harriet by her imagination, without considering the pairs’birth and social class. However, at last she realizes this, especially when Harriet confides her inner love to Mr. Knightley, Emma thinks that〝it was a union to distance every wonder of the kind〞(Austen, 402). Then she regrets what have done in the past,〝Had she left her [Harriet] where she ought […], had she not, prevented her marring the unexceptionable young man who would have made her happy and respectable in the line which she ought to belong——all would have been safe; none of this dreadful sequel would have been.〞(403)Therefore, at last when Mr. Knightley tells Emma that Harriet will marry Martin, she assures Mr. Knightley〝[…] but it does not make me unhappy〞(453) and she cheerfully answers him〝I think Harriet is doing extremely well. In respectability ofcharacter, there can be no doubt that they are.〞(Austen, 454).From the brightest smiles and these sincere words, it implies that Emma is perfectly satisfied and wishes them happy sincerely. Of course, the fact is, as Emma can now acknowledges, that Harriet has always liked Robert Martin, and Martin’s continuing love for her is irresistible. At last, Emma’s attitude towards Martin also changes, she originally describes him as a〝gross, vulgar farmer〞(14) and〝unpolished and coarse〞(15), but as the plot progresses, and in the influence of Mr. Knightley, she admits that Harriet and Robert Martin are the better pair from her bottom heart.In addition, Emma gains the truth that Mr. Elton’s unfavorable actions towards Harriet make her see Elton more clearly〝Mr. Elton was not the superior creature she had believed him〞(Cui Huiyong, 49) and Mr. Elton’s courtship to Emma herself in fact reflects the reality that he attaches much importance to her property and social rank. About Frank Churchill and Jane Fairfax’s happy ending, Emma〝has no doubt of their being happy together〞and she〝believes them to be very mutually and very sincerely attached.〞(Austen, 426).This also shows that Emma can understand the reality instead of thinking about things like having an illusionary dream.3.1.2 Improvement of Identity & Autonomy GainingWith Emma’s growth, she strengthens her ability and gains great self-knowledge. Indeed she improves her identity and gains her complete autonomy. According to Hill, two distinctive features of adolescent development are:〝(1) the emergence of more advanced thinking abilities and (2) the transition into new role in society.〞(Cited in Steinberg, 1993:6) And Laurence Steinberg introduces〝identity〞and〝autonomy〞in his five sets of psychological issues, in which〝identity〞means〝discovering and understanding who they are as individuals〞,〝autonomy〞is〝establishing a healthy sense of independence〞. In Emma, the title character just makes great progress in these two aspects.In the beginning of the novel, Emma takes pride in the fact that she has helped to make a match between Miss Taylor and Mr. Weston, so she identified herself as a good matchmaker. However, Emma’s success as matchmaker leads her to abuse her power later in the novel. Her role changes from a facilitator to a manipulator gradually. Then Emma believes she could judge everybody’s emotion and begins to take the role of the 〝do-all〞for others to follow her own plan. However, when Harriet falls in love with Mr. Knightley, Emma realizes that he is the very man she own has loved long unconsciously. At this result, she learns to regret taking the role of the〝do-all〞and realizes who she really is and where she is headed. She has proposed to arrange everybody’s destiny with unpardonable arrogance, which is universally mistaken. Therefore, at last Emma understands that she can not and should not do all, and she is not a manipulator.About autonomy, Steinberg focuses on three sorts of concerns that are of special importance to the personal development:〝becoming less emotionally dependent on parents, becoming able to make independent decisions, and establishing a personal code of value and morals.〞(1993:14)It is easy to see Emma’s emotional and behavioral autonomy in the beginning of the novel, while her value autonomy is gained through a series of encounters.Emma is virtually equal to an orphan. Although she has a father, her father acts more like a child than a parent, so Emma has been mistress of the house from a very early period. Thus, she can make any independent decisions at her ease and is scarcely influenced by others.But Emma is deficient in establishing a proper personal code of value and morals. Luckily, Emma finally improves her personality by learning to respect others, cares for others’feeling and not to interfere with others’emotion. The changes of her attitudes toward Miss Bates and Jane Fairfax are two examples proving Emma’s value autonomy. With the instruction of Mr. Knightley, Emma regrets for her scornful and ungracious thoughts toward Miss Bates and through this event she forms a proper code of value。

《爱玛》读后感

《爱玛》读后感《爱玛》读后感爱玛是英国作家简·奥斯汀的代表作之一，于1815年首次出版。

这是一部以女性为主角的社交喜剧小说，深刻描绘了英国贵族社会的习俗和人物性格。

本文将从以下几个章节来详细阐述我的读后感。

第一章：小说梗概《爱玛》的故事发生在英国小镇哈特菲尔德，主要以年轻富有的女子爱玛·伍德豪斯为中心展开。

爱玛是个聪明美丽的女孩，有着相对宽裕的生活，但她往往过于自信和干涉他人的生活。

她喜欢做媒人，试图为人们牵线搭桥，但往往导致了一系列的误会和困惑。

第二章：人物分析在《爱玛》中，每个角色都有鲜明的个性。

爱玛天真活泼，善于观察，但有时过于自视甚高；她的朋友哈丽埃特则是一个平凡的村姑，却深受爱玛的指导和影响；还有高贵而冷淡的埃尔顿先生，他被爱玛误以为是哈丽埃特的心上人，引发了一连串的误会。

第三章：情节发展小说以轻松幽默的方式展示了社交活动和婚姻的复杂性。

爱玛试图为哈丽埃特找到一个合适的伴侣，但却在感情问题上产生了混淆。

同时，她本人也陷入了一段错误的爱情中，最后才意识到真正的爱情早已在她身边。

第四章：主题与意义《爱玛》不仅仅是一部爱情小说，更是对当时英国社会的描绘与批判。

作者通过对贵族社交习俗的刻画，展示了那个时代的道德观念和人性弱点，同时也表达了对女性角色的关注和揭示。

第五章：个人感受阅读《爱玛》给我留下了深刻的印象。

小说中的人物形象生动且具有鲜明的个性，他们的互动和情感纠葛令人捧腹。

通过对人物内心的描写和细致入微的情节展开，作者成功地勾勒出了那个时代的风俗人情，让读者仿佛穿越到了那个充满优雅和闲适的时期。

附件：本文档附带了一份摘自小说的阅读笔记，供参考阅读。

法律名词及注释：1、社交习俗：指在社交场合中的一系列礼仪规范和潜规则，包括言谈举止、服饰礼仪等方面。

2、婚姻：指两个人经过法律程序结合在一起的制度或行为。

3、平凡的村姑：形容一个普通人，特指生活在乡村的农村女子。

爱玛的性格分析

爱玛的性格分析摘要一部优秀的小说作品不仅在于其发人深省令人寻味的故事情节，还在于故事中成功的人物性格塑造。

而出版于1815年由英国现实主义女作家简·奥斯汀完成的《爱玛》这本小说，则一反那个时代小说人物塑造的写作风潮，在整个小说中塑造了爱玛这样一个性格充满缺憾但是又立体感极强的人物形象。

本文主要对爱玛的性格特点进行了整体的分析，指出了她性格中存在的缺陷与不足，并通过对其成长经历及自我认识的剖析，探讨了她性格成长以及转变的必然性。

关键词爱玛性格分析性格缺憾成长经历性格是个人的特殊品质，也往往是一部艺术作品的灵魂所在，就像是黑格尔说的“深入心灵的并表现在具体活动中的情致就是人的性格”。

在一部小说作品中，其实深入整个小说灵魂的应该也是人物的性格，而整个小说故事更应该是人物性格的运动史。

在简·奥斯汀19世纪初完成的《爱玛》这本小说中，作者就塑造出了一个与众不同有着性格缺陷但又令人难忘的爱玛这个不完美的主人翁。

她势力、自私、主观又保守，还有着很强的门户之见，喜欢摆布别人的婚姻，似乎这样的一个人得不到任何人的喜爱，包括作者在内也觉得她创造的这个女主角是除了作者自己别人都不会喜爱的。

但就是这样一个并不完美有着各种性格缺憾的女主角的塑造，让《爱玛》这本书的艺术价值再次升华，也让其更具有现实意义。

一、《爱玛》作品及相关争议简介《爱玛》是出生于18世纪末的英国现实主义女作家简·奥斯汀的得意作品之一，在英国文学长廊中具有显著的地位，但是这部作品也是其最受争议的一部。

简·奥斯汀在《爱玛》这部小说创作中，主要是以19世纪初的英国为大背景，然后通过对海伯里小村中的女主人翁爱玛以及村中的几个人物之间的关系的描述，刻画了当时英国中产阶级社会的众生相。

这部作品与其它同时期的作品有着很大的不同，也一直以来备受争议。

因为在整个作品中，简·奥斯汀塑造的并不是一个温柔、善良有着完美个性的女主人翁，而是一个势力、自私、主观并且保守的充满着缺陷的女主角。

爱玛的性格分析

爱玛的性格分析摘要一部优秀的小说作品不仅在于其发人深省令人寻味的故事情节，还在于故事中成功的人物性格塑造。

在一部小说作品中，其实深入整个小说灵魂的应该也是人物的性格，而整个小说故事更应该是人物性格的运动史。

在简·奥斯汀19世纪初完成的《爱玛》这本小说中，作者就塑造出了一个与众不同有着性格缺陷但又令人难忘的爱玛这个不完美的主人翁。

但就是这样一个并不完美有着各种性格缺憾的女主角的塑造，让《爱玛》这本书的艺术价值再次升华，也让其更具有现实意义。

这部作品与其它同时期的作品有着很大的不同，也一直以来备受争议。

因为在整个作品中，简·奥斯汀塑造的并不是一个温柔、善良有着完美个性的女主人翁，而是一个势力、自私、主观并且保守的充满着缺陷的女主角。

《包法利夫人》爱玛欲望与现实的碰撞

《包法利夫人》爱玛欲望与现实的碰撞在福楼拜的《包法利夫人》中，爱玛这一人物形象深入人心，她的命运起伏令人感慨万千。

爱玛的一生，是欲望与现实不断碰撞的过程，这种碰撞最终导致了她的悲剧结局。

爱玛出生在一个普通的乡村家庭，却有着一颗不甘平凡的心。

她渴望浪漫的爱情、奢华的生活和高贵的社会地位。

然而，现实却给了她重重的一击。

她嫁给了平庸的包法利医生，过上了平淡无奇的乡村生活。

婚后的爱玛，很快就对这种平淡感到厌倦。

她开始幻想那些在小说中读到的浪漫情节，渴望自己也能成为故事中的女主角。

她心中的欲望之火燃烧得越来越旺，而现实却像是一潭死水，无法满足她的渴望。

爱玛首先陷入了对爱情的过度渴望之中。

她觉得丈夫包法利医生木讷、无趣，无法给予她想要的激情和浪漫。

于是，当她遇到了风度翩翩的罗多尔夫时，便迅速陷入了爱河。

在爱玛的眼中，罗多尔夫代表着她梦寐以求的爱情，他的甜言蜜语和殷勤关怀让她陶醉其中。

然而，罗多尔夫只是把爱玛当作一时的消遣，当他感到厌倦时，便毫不留情地抛弃了她。

这次的失恋对爱玛来说是一次沉重的打击，但她并没有因此放弃对欲望的追求。

不久之后，她又与年轻的实习生莱昂相遇，并再次陷入了爱情的漩涡。

与罗多尔夫不同，莱昂最初还显得有些羞涩和胆怯，但在爱玛的主动示好下，两人的关系逐渐升温。

然而，这段感情也没有逃脱悲剧的命运。

莱昂最终为了自己的前途离开了爱玛，留下她独自承受痛苦。

除了爱情，爱玛对物质的欲望也在不断膨胀。

她追求时尚的服饰、精致的家居用品和奢华的娱乐活动。

为了满足这些欲望，她不惜借高利贷，陷入了无法偿还的债务危机。

爱玛天真地以为，通过这些物质的享受，她能够过上理想中的生活。

但现实是残酷的，她的债务越积越多，最终将她推向了绝境。

爱玛的欲望并非毫无缘由。

她所处的时代，社会风气浮躁，人们普遍追求虚荣和享乐。

小说中的贵族和资产阶级过着纸醉金迷的生活，这让爱玛心生向往。

同时，她所阅读的那些浪漫小说，也为她描绘了一个虚幻的美好世界，让她对现实产生了不切实际的幻想。

从电影《爱玛》看主人公形象的独特魅力-精选文档

从电影《爱玛》看主人公形象的独特魅力-精选文档从电影《爱玛》看主人公形象的独特魅力一、电影《爱玛》中的女主人公形象概述《爱玛》有很多不同的影视剧版本。

它的原著作者简•奥斯汀是18世纪末19世纪初英国著名的女作家，英国小说的伟大缔造者之一。

《爱玛》是奥斯汀最有影响力最具代表性的一部长篇小说。

创作于1815年，被公认为是她一生6部作品中在艺术上和思想上最成熟的一篇。

这篇名著也如她的其他作品一样毫无例外地被多次拍摄成影视剧，其中最被观众推崇和欢迎、被公认为最符合原著的是英国1997年拍摄的由凯特•贝金赛主演的《爱玛》。

在这部影片中，主演凯特•贝金赛以独特的古典主义气质征服了观众，外加清一色的英国阵容制作班底和优美的配乐，使这部电影成为最受观众好评和被公认最贴近原著的版本。

诚然，爱玛的形象虽个性鲜明，但却是个充满问题和缺点的人物，常被世人认为是奥斯汀所有作品中最不完美的角色。

影片中的女主人公爱玛聪明貌美，热情开朗，是富足家庭的小姐，过着无忧无虑的生活。

然而正因为这种家庭出身造就了她高高在上、自命不凡、孤芳自赏的性格。

她身上有很多缺点。

她自己不想结婚，却喜欢给人做媒，但却总是乱点鸳鸯谱，闹出许多误会，弄巧成拙。

爱玛为女子搭桥牵线的方式十分可笑，甚至可以说是荒诞，她竭力为地位低下的女子寻找社会地位比较高的配偶，但结果却往往是事与愿违。

她主观臆想地要去保护一个叫哈丽埃特的孤女，并替她安排恋爱。

哈丽埃特是一个性情温顺的女孩，她顺从地一次又一次地接受了爱玛给她选择的恋爱对象，最后在爱玛的怂恿之下，自以为爱上了本地最大的地主兼地方官奈特利先生，这时爱玛才骤然发现原来自己真正爱上了奈特利先生。

最后爱玛终于认识到自己的错误，吸取了教训。

最终爱玛和哈丽埃特都找到了属于自己的人生伴侣。

可见，爱玛的形象在影片原著作者奥斯汀的几部小说中是最不完美的，她身上缺乏18世纪父权主流文化倡导的女性美德，却透露出女权主义的影子，爱玛的形象对父权文化无疑是一种挑战。

简·奥斯汀《爱玛》中女性意识的觉醒与缺失

简·奥斯汀《爱玛》中女性意识的觉醒与缺失《爱玛》是简·奥斯汀的代表作品之一，该小说通过女主人公爱玛的成长和婚姻观念的转变，展现了女性的意识觉醒和缺失。

小说中展现了爱玛的意识觉醒。

爱玛是一个富有、美丽而聪明的年轻女子，然而她过于自负和自负，以致常常误解他人的动机和意图。

在整个小说中，爱玛的自负和傲慢一直受到挑战，最终使她认识到自己的错误。

在与哈里埃特的亲密友谊中，她逐渐意识到自己以往的行为是自私和错误的，开始反思自己的价值观和行为方式。

爱玛的意识觉醒不仅表现在她对自己的省察和反思，还体现在她对他人的关注和理解上。

在和梅杰丽的交往中，爱玛渐渐注意到自己对梅杰丽的偏见和误解，并对她的痛苦和失望感到内疚。

通过这些反思和反省，爱玛逐渐成熟起来，变得更加善解人意和谦逊。

小说中也暗示了女性意识的一些缺失。

爱玛过于关注自己的世界和个人欢乐，忽视了社会和家庭的责任。

她没有接受过严格的教育，对于社会伦理和道德规范的认知相对有限。

由于她以富裕和优越的家庭背景长大，她缺乏对社会底层人民的了解和同情心。

爱玛也常常忽略了身边的人的感受和情感，对他们的期望和干预过于强烈。

她对哈里埃特的婚姻选择产生了消极影响，也曾因为自己的误解而伤害了哈里埃特的感情。

这些缺失体现了爱玛对待他人的责任和关怀的考虑还不够深入，缺乏女性的同情心和责任感。

简·奥斯汀通过《爱玛》中女性意识的觉醒与缺失，展现了女性在当时社会中的困境和挑战。

女性在那个时代受到严格的社会规范和束缚，对外界的探索和行动常常受到限制。

然而通过主人公爱玛的成长和意识觉醒，奥斯汀表达了女性也有成为独立思考、自主行动的个体的能力。

奥斯汀通过爱玛的故事告诉读者，女性应当反省自己的过错和慎重行动，在婚姻和社会生活中发挥应有的作用和责任。

小说《爱玛》中的女性性格分析

小说《爱玛》中的女性性格分析阴王静宇徐丹辽宁师范大学外国语学院[摘要]本文探讨了《爱玛》中女性人物的性格特点。

作者通过小说中一系列故事情节的展开，以及对人物的行为、语言及其心理活动的描写，分析了女主人公爱玛·伍德豪斯的心路历程及性格变化，同时解析了次要人物哈丽埃特·史密斯和简·菲尔费克斯的性格及在小说中的作用。

女主人公爱玛·伍德豪斯的性格鲜明、生动，其思想经历了由自负、自欺到悔悟、自省的变化，这也是小说借以表达主旨的手段之一。

[关键词]爱玛；哈丽埃特；简·奥斯汀；女性[中图分类号]I106[文献标识码]A[文章编号]1009-6167（2021）06-0006-03小说《爱玛》主要从爱玛的视角展开故事情节，这种写作手法确保读者跟随爱玛而不是站在爱玛的对立面看待事件的发生发展，从而使读者在能够客观地评价爱玛的缺点的同时，仍然对她保持喜爱之情。

哈丽埃特作为爱玛帮助的对象，愚笨、没有主见，但善良宽厚，谦卑顺从，这体现了作者所肯定的价值观。

哈丽埃特与爱玛的性格形成了鲜明的对比，从而暗示了爱玛的自负。

在情节构思上，哈丽埃特的身世之谜也促进了情节的发展。

简·菲尔费克斯是一个多才多艺、性格坚忍和顺、隐忍克制的姑娘，但同时她感情炙热、性格多疑。

由于爱玛对她的嫉妒，真实的简同爱玛所认为的简是不一样的。

作者对简的描写并没有涉及她的内心世界，这样既制造了悬念，又保持了读者对爱玛的同情。

1介绍简·奥斯汀简·奥斯汀是英国著名小说家，她通过对日常生活的处理，给出了小说的现代特征。

奥斯汀一生广泛阅读，其本人从未结婚。

奥斯汀总共写了六部小说：《理智与情感》（1871年）、《傲慢与偏见》（1813年）、《曼斯菲尔德公园》（1814年）、《爱玛》（1815年）、《诺桑格修道院》（1818年）和《说服》（1818年）。

弗吉尼亚·伍尔夫称奥斯汀为“女性中最完美的艺术家”。

《爱玛救赎中的成长从成长小说的角度解读《爱玛》中的道德观

基本内容
在《爱玛》这部小说中，成长是一个与救赎紧密相连的主题。爱玛在自我救赎的过程中，也不断地成长和进步。她从一个任性和自负的年轻女子，逐渐变成了一个懂得自省和理解他人的成熟女性。在与哈丽埃特、奈特利先生等人的交往中，她不断地领悟到人性的复杂性和丰富性，也认识到了自己的局限和不足之处。通过这些经历，爱玛逐渐学会了谦逊、宽容和同情心等品质，成为了一个更加完整和充实的人。
《爱玛》：简·奥斯汀的女性主义观
在《爱玛》中，奥斯汀以女性的视角，刻画出了一个生动而立体的女性形象。爱玛并不只是一个富有姑娘，她的富有并非来自于家庭背景，而是来自于她的智慧和独立的性格。她有足够的自信去主导自己的生活，有足够的勇气去追求自己的幸福。在这一点上，奥斯汀塑造了一个真正意义上的“新女性”形象。
《爱玛》：简·奥斯汀的女性主义观
在小说中，爱玛最终认识到了自己的缺点并改正了它们，最终也找到了自己的幸福。这表明奥斯汀认为，女性只有通过认识自我、改正缺点并独立自主才能获得真正的幸福。这种思想对于当时的社会来说是具有挑战性的，因为当时的社会对女性的期望是顺从和依赖。
《爱玛》：简·奥斯汀的女性主义观
基本内容
在这个过程中，她意识到了自己的错误，并通过自我反省和向他人求助，最终实现了自我救赎。
基本内容
爱玛的救赎过程并不是一帆风顺的。她曾经因为自己的错误而陷入深深的悔恨和痛苦中。然而，在这个过程中，她也开始思考自己的生活和价值观。在与奈特利先生的对话中，她认识到了自己的骄傲和自负，并逐渐克服了这些缺点。同时，她还通过帮助他人在生活中找到了意义和价值，从而逐渐找到了自己生活的方向。在这个过程中，爱玛不断地成长和进步，最终实现了自我救赎和成长。
2、人际关系的变化

《包法利夫人》中爱玛的人物分析

《包法利夫人》中爱玛的人物分析第一篇：《包法利夫人》中爱玛的人物分析第一部分，结婚前：爱玛的首次亮相，福楼拜通过查理的眼睛这样描绘：“她美在眼睛，由于睫毛的缘故，棕颜色仿佛黑颜色。

眼睛朝你望来，毫无顾忌，有一种天真无邪的胆大神情。

”爱玛是外省一个富农的女儿，在修道院度过青年时代，会跳舞、绘画、绣花、弹琴，饱读浪漫派作品。

在修道院所受到的教育对爱玛的一生起到了决定性的影响。

爱玛温顺乖巧，从不和父亲顶嘴；缝垫子不小心扎破手指头，就把手指放到嘴里嘬了两口，刻画出她那俏皮、可爱的性格特征；以查理的视角对爱玛的手部的描写，更是刻画出了爱玛纯净、清澈的美丽；她在修道院读书回来，会精心地把自己喜欢的艺术作品送给父亲；虽然她呆在乡下并不开心，但她依然会照顾好父亲的整个田庄；她很时尚，从衣着上的讲究到新式的发型，她都追逐城里人的潮流。

“她总是把查理送到第一级台阶。

”她心里对爱情无限向往，但同时她又保持传统的矜持。

婚前，她是这样一个纯洁、美好的女子。

第二部分结婚之后搬家之前嫁给包法利后，艾玛对新生活的渴望和天真幻想都成了泡影。

相对于丈夫那种满足现有生活的幸福，她极力想要摆脱这种平庸的生活，寻找她梦想中的理想生活，来满足自己感情上的需要。

参加维利侯爵家举办的舞会，成为艾玛思想生活上的一个转折点。

艾玛对候爵家豪华的气派、高雅的客人入迷。

她怀着羡慕的心情看着那些装扮入时的贵妇人，幻想着自己也能过上那样的生活。

回家后，对舞会的怀念以及对现有生活的埋怨让她的脾气越来越坏，对丈夫更是越来越厌烦，不久后她便害了心病。

第三部分搬家之后经不起包法利夫人的情绪化，加上她身体渐渐虚弱，包法利医生决定换个新环境，便搬到了永镇居住。

在这里，爱玛开始了她的梦幻爱情。

一开始，浪漫而富有诗意的莱昂正好符合爱玛心中对激情和风雅的向往，他们志同道合，且彼此欣赏。

所以他们结伴一起去看包法利夫人的女儿、一起尽情享受玩游戏的快乐、享受护送礼物的温情。

但是这个胆小怕事的男人经过感情的纠结后，始终没有胆敢表达他心中的爱情。

《包法利夫人》中爱玛的人物分析

第一部分，结婚前：爱玛的首次‎亮相，福楼拜通过‎查理的眼睛‎这样描绘：“她美在眼睛‎，由于睫毛的‎缘故，棕颜色仿佛‎黑颜色。

眼睛朝你望‎来，毫无顾忌，有一种天真‎无邪的胆大‎神情。

”爱玛是外省‎一个富农的‎女儿，在修道院度‎过青年时代‎，会跳舞、绘画、绣花、弹琴，饱读浪漫派‎作品。

在修道院所‎受到的教育‎对爱玛的一‎生起到了决‎定性的影响‎。

爱玛温顺乖‎巧，从不和父亲‎顶嘴；缝垫子不小‎心扎破手指‎头，就把手指放‎到嘴里嘬了‎两口，刻画出她那‎俏皮、可爱的性格‎特征；以查理的视‎角对爱玛的‎手部的描写‎，更是刻画出‎了爱玛纯净‎、清澈的美丽‎；她在修道院‎读书回来，会精心地把‎自己喜欢的‎艺术作品送‎给父亲；虽然她呆在‎乡下并不开‎心，但她依然会‎照顾好父亲‎的整个田庄‎；她很时尚，从衣着上的‎讲究到新式‎的发型，她都追逐城‎里人的潮流‎。

“她总是把查‎理送到第一‎级台阶。

”她心里对爱‎情无限向往‎，但同时她又‎保持传统的‎矜持。

婚前，她是这样一‎个纯洁、美好的女子‎。

第二部分结婚之后搬家之前嫁给包法利‎后，艾玛对新生‎活的渴望和‎天真幻想都‎成了泡影。

相对于丈夫‎那种满足现‎有生活的幸‎福，她极力想要‎摆脱这种平‎庸的生活，寻找她梦想‎中的理想生‎活，来满足自己‎感情上的需‎要。

参加维利侯爵家举办的舞‎会，成为艾玛思‎想生活上的‎一个转折点‎。

艾玛对候爵‎家豪华的气‎派、高雅的客人‎入迷。

她怀着羡慕‎的心情看着‎那些装扮入‎时的贵妇人‎，幻想着自己‎也能过上那‎样的生活。

回家后，对舞会的怀‎念以及对现‎有生活的埋‎怨让她的脾‎气越来越坏‎，对丈夫更是‎越来越厌烦‎，不久后她便‎害了心病。

第三部分搬家之后经不起包法‎利夫人的情‎绪化，加上她身体‎渐渐虚弱，包法利医生‎决定换个新‎环境，便搬到了永‎镇居住。

在这里，爱玛开始了‎她的梦幻爱‎情。

一开始，浪漫而富有‎诗意的莱昂‎正好符合爱‎玛心中对激‎情和风雅的‎向往，他们志同道‎合，且彼此欣赏‎。

《爱玛》中“爱玛”的性格分析

《爱玛》中“爱玛”的性格分析作者：刘爽来源：《青年文学家》2009年第17期摘要:本文通过对爱玛的性格分析,指出了她的性格缺陷及她自始至终的转变,并且进一步的分析了她转变的必然和缺憾。

由此得出人们的进步、尤其是女性在社会发展中进步的结论,使本文的主题得以升华。

关键词: 爱玛道德女权主义转变【中图分类号】I106 【文献标识码】A 【文章编号】1002-2139(2009)-17-0012-02一、引言《爱玛》是18世纪末19世纪初英语著名女作家简奥斯汀所著六部长篇小说之一,于1815年出版,被相当一部份评论家看作是她最成功的作品。

但它却并不如作者的另一部作品《傲慢与偏见》引人注目。

而我在一口气读完这部作品之后发现不管在人物性格的塑造上还是在故事情节发展上,《爱玛》都是较为成熟的。

小说通过海伯里小村中的人与事,刻画出19世纪初英国中产阶级社会的众生相。

主要情节围绕女主人公爱玛与村中几个主要家庭中人物的关系展开。

爱玛是个“又漂亮,又聪明,又有钱”的年轻姑娘,由于具有这般得天独厚的条件,不禁有点“自视过高”,因而喜欢“随心所欲”。

她自己打定主意不结婚,却热衷于给别人牵线搭桥。

而她给别人做媒,每每不是“按照情理”,而是“凭着异想天开或一时冲动”,乱点鸳鸯谱,结果闹出许多笑话,吃了不少苦头。

不过,爱玛虽然没给别人撮合成一门亲事,但她自己最后却坠入了情网,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。

二、爱玛的性格缺陷(一)势利的爱玛小说一开始,爱玛就暴露出她在道德方面的不完善。

她非常势利、自私、保守和主观,但她却从未意识到这些是她的不足,相反,她总是自我感觉良好,心安理得。

生于富裕的乡绅士家,爱玛从小受到良好教育,但她却很势利。

她瞧不起一切地位低,家境不如她的人。

她经常教育哈里特:要注意自己现在的身份,要同那些地位低,没教养的人划清界线,别跟他们扯上关系。

(二)自私的爱玛爱玛也很自私。

《爱玛》内容概括

《爱玛》内容概括《爱玛》是简·奥斯汀的代表作之一，被誉为英国文学史上的经典之一。

小说主要讲述了乡村女孩爱玛与里弗斯先生的婚姻生活以及她在英国上层社会的交际圈中的经历，探讨了爱情、婚姻、社会地位等话题。

本文将从以下几个方面进行概括：一、爱情观念小说中，爱玛坚持自己的爱情观念，认为婚姻应该建立在互相尊重和理解的基础上，而不是仅仅因为社会地位或家庭背景的门当户对。

她拒绝了那些只是看中她的家庭背景和财富的男人，而是选择了与里弗斯先生志同道合、真心相爱。

小说通过爱玛的爱情观念，表达了对真爱的追求和对个人价值观的坚持。

二、社会地位小说中，爱玛虽然出身贫寒，但她并不自卑，也不愿意通过嫁入豪门来提高自己的社会地位。

相反，她通过自己的才华和努力，逐渐在上层社会中获得了一定的认可和地位。

她与那些出身名门望族的女人交往，不仅没有感到自卑，反而通过自己的努力和才华获得了一定的社会地位和尊重。

小说通过爱玛的社会地位，表达了对个人价值和自我实现的重视。

三、婚姻观念小说中，爱玛与里弗斯先生的婚姻观念也体现了作者的价值观和对婚姻的看法。

她认为婚姻应该建立在相互尊重、理解和支持的基础上，而不是单纯追求门当户对或利益交换。

她与里弗斯先生相互欣赏、真心相爱，并且在婚姻中互相扶持、共同成长。

小说通过爱玛与里弗斯先生的婚姻观念，表达了对真挚感情和婚姻的追求。

四、人物形象小说中，爱玛是一个独立、聪明、坚强而又有个性的女性形象。

她具有自己的独立思考和判断能力，不轻易受他人影响，始终坚持自己的信念和追求。

同时，她也有自己的弱点和缺陷，例如对社交场合的不适应和过于执着于某些事情等。

小说通过爱玛这个形象，展现了一个真实而立体的人物形象，让读者更加深入地了解了她的内心世界和成长历程。

综上所述，《爱玛》是一部探讨爱情、婚姻、社会地位等话题的经典小说。

通过对爱玛这个人物形象的描绘，展现了作者简·奥斯汀独特而深刻的思考和洞察力，也反映了那个时代英国上层社会对女性角色和价值观念的塑造。

爱玛 人物性格分析

《爱玛》中爱玛的人物形象分析 爱玛是怎样的人

从《包法利夫人》中浅谈爱玛的典型人物形象

奥斯丁笔下爱玛女主人公的形象分析

浅析《包法利夫人》中“艾玛”的形象

[《爱玛》中“爱玛”的性格分析]爱玛中女性人物性格分析

《包法利夫人》主要人物剖析[指南]

从性格方面剖析爱玛的心智成熟历程

《爱玛》读后感

爱玛的性格分析

爱玛的性格分析

《包法利夫人》爱玛欲望与现实的碰撞

从电影《爱玛》看主人公形象的独特魅力-精选文档

简·奥斯汀《爱玛》中女性意识的觉醒与缺失

小说《爱玛》中的女性性格分析

《爱玛救赎中的成长从成长小说的角度解读《爱玛》中的道德观

《包法利夫人》中爱玛的人物分析

《包法利夫人》中爱玛的人物分析

《爱玛》中“爱玛”的性格分析

《爱玛》内容概括

爱玛人物性格分析

《爱玛》中爱玛的人物形象分析爱玛是怎样的人