Mature Emma

Mature Emma
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Written January 21, 1814 - March 29, 1815
Published December 1815 (dated 1816 on title page of first edition)
"3 or 4 Families in a Country Village is the very thing to work on." −Jane Austen, letter to niece Anna Austen, September 9-18, 1814
Jane Austen was at the height of her artistic powers when she wrote Emma , the fourth and last of her works to be published during her lifetime.
The novel is a lively comedy of manners populated by some of Austen’s most entertaining and memorable characters, and it showcases her technical skills as a mature and experimental writer.
According to her sister’s notes, Jane Austen started writing Emma on January 21, 1814, and finished on March 29, 1815. Whether she chose to use a new publisher because Thomas Egerton was unwilling to print a second edition of Mansfield Park or because she hoped to get a more lucrative copyright agreement for Emma (or both), Austen offered Emma to John Murray, the prominent London publisher of The Quarterly Review as well as the works of some of the leading authors of the day.
Initially, Murray offered to purchase the copyright to Emma for £450 if the rights to Sense and Sensibility and Mansfield Park were included in the deal. However, Austen felt that the amount offered was too low and negotiated with Murray to publish Emma on a commission basis, along with a second edition of Mansfield Park . She paid for printing and advertising the books, and Murray received a commission for distributing and selling them. And because the first editions of each of her previous novels had sold out, the decision was made to print 2,000 copies of Emma —Jane Austen’s largest first edition print run to date.
Emma was first available for sale on December 23, 1815, although, since the release was so close to the end of the year, the date on the title page is 1816. Like its predecessors, Emma was published anonymously; the title page simply states that the work was “by the Author of ‘Pride and Prejudice,’ etc, etc.” Unlike Jane Austen’s other works, it also included a dedication to the Prince of Wales. Although she disliked the Prince Regent, he admired her novels and had copies in each of his residences. While she was visiting her brother Henry in London in the fall of 1815, Austen’s identity became known to the Prince and his librarian, James Stanier-Clarke, and she was invited to tour Carlton House. Stanier-Clarke also wrote that she “was at liberty to dedicate any future work” to the Regent—a subtle royal request that she decided could not be ignored.
John Murray’s ledgers show that by October 1816 only 1,248 copies of Emma had been sold—slightly less than two-thirds of the initial print run. Although the inventory had not yet sold out, Jane Austen’s profit on the sales of Emma totaled £221.6.4 at that point. However, she had to reimburse Murray for costs associated with producing the second edition of Mansfield Park , which did not sell well. As a result, it wasn’t until February 1817 that she finally received £38.18 in profit from Emma , with about a quarter of the print run still unsold.
In a letter to John Murray written on December 11, 1815 (just a few weeks before Emma was published), Jane Austen shared her concern about the public’s reception of her new novel: “I am very strongly haunted by the idea that to those Readers who have preferred P&P. it will appear inferior in Wit, & to those who have preferred MP. very inferior in good Sense.” Perhaps she was simply nervous as the release date approached, or perhaps she knew that her realistic fiction about ordinary people and their everyday lives would not appeal to everyone. As it turned out, her family members and acquaintances did have mixed reactions to Emma . A few were delighted with it, a few disliked it, and the majority ranked it between Pride and Prejudice and Mansfield Park (although a few thought Mansfield Park was also superior).
The most frequent criticism was that the plot lacked “incident,” or romantic drama; Emma was praised for the “naturalness” of its characters and events, but many readers expected more action. Emma fared better among the literary critics of the day and received several generally favorable reviews. Sir Walter Scott, in a piece he wrote anonymously for the Quarterly Review , pointed out that Emma was part of a new trend in fiction, “which has arisen almost in our own times, and which draws the characters and incidents introduced more immediately from the current of ordinary life than was permitted by the former rules of the novel.”
Modern readers, who do prefer realistic fiction, have embraced Emma and often refer to it as Jane Austen’s masterpiece. Contrary to her well-known declaration that Emma Woodhouse would be “a heroine whom no one but myself will much like,” most readers do like Emma, in spite of her faults. She is a modern young woman: energetic, intelligent, self-directed, and an independent thinker. And—unlike Austen’s other heroines—she is rich and influential in her social circle; she doesn’t consider marriage to be her goal in life or the key to her future happiness.
Those who dislike Emma focus on the fact that she can be self-satisfied, snobbish, and meddlesome. However, her wit and imagination, her sense of duty and responsibility, and her affectionate and generous nature make her likeable in spite of her faults. Even her attempts to manage other people’s lives arise from good intentions. Emma is flawed, just as all people are, but by the end of the novel she repents her actions, becoming more self-aware and humble as she recognizes her mistakes and realizes that her behavior could have spoiled her friends’ chances for happiness as well as her own. She grows and changes for the better.
The appeal of Emma lies not only in its realism, but also in its comedy. The dialog is witty, the absurdity of supporting characters is entertaining, and Austen’s masterful use of free indirect discourse allows us to see the world through Emma’s eyes and laugh at her delusions. Emma also showcases Austen’s playfulness as a writer, packed as it is with riddles, word games, literary allusions, a hidden calendar game, and even a mystery. For example, it is only after finishing the book that first-time readers realize they have been just as oblivious to what is going on in Highbury as Emma was, and that they, too, have missed the clues to an important secret. It’s no wonder that each re-reading of Emma rewards us with new insights and new reasons to admire Jane Austen’s skill and artistry.
Explore the resources below for more in-depth information about Emma , a discussion guide for your reading group, and more.
Images: • 3-volume first edition of Emma (University of Arizona Libraries, Special Collections; photo © Frank Lutz.) • Title page of first edition of Emma (Wikimedia Commons) • Illustration by C. E. Brock, 1898
In her essay “Chronology within the Novels” (in The Jane Austen Companion, 1986), Jo Modert describes the “hidden calendar game” that Austen embedded in Emma. Modert says that the novel is set in the calendar years 1813-1814, “with main events occurring on holy/holidays, both New- and Old-Style.”
For example, Jane Fairfax receives the pianoforte, Frank Churchill’s gift of love, on Valentine’s Day (February 14). Frank attempts to confess his and Jane’s secret to Emma before leaving Highbury on Shrove Tuesday, a day of penitence (February 22). The unsettling events and quarrels that affect the couples at the Donwell Abbey party and Box Hill take place on Midsummer Eve and Midsummer Day (June 23 and 24), and Mr. Knightley proposes to Emma on Old Midsummer Day (July 6).
The Jane Austen Society of North America is dedicated to the enjoyment and appreciation of Jane Austen and her writing. JASNA is a nonprofit organization, staffed by volunteers, whose mission is to foster among the widest number of readers the study, appreciation, and understanding of Jane Austen’s works, her life, and her genius.  We have over 5,000 members of all ages and from diverse walks of life. Although most live in the United States or Canada, we also have members in more than a dozen other countries.
©2022 The Jane Austen Society of North America, Inc. All rights reserved.

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15 Mature Actresses Who Went Bare On Screen

Steven John
Aug 20, 2017
Lifestyle

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There are plenty of good reasons for an actor or actress to bare some skin (or bare it all) on screen. Many scenes call for nudity to help advance the plot and/or deepen the perceived connection between characters, with the exposure fitting the narrative of a romantic scene. Other films use nudity to heighten the raw, powerful emotions of a moment, with nakedness of the human body serving as a visual metaphor for nakedness of the human soul. The rest of the time, movies show naked actors and actresses because people like to look at other people who are naked.
The mature actress can choose to do a nude scene for various reasons. She might decide she wants to expose her body to display the beauty and femininity she still celebrates after many years on earth. She might feel the material of a great script is so powerful that she will willingly go nude despite her advanced age in the name of art. And of course many mature actresses who got naked on screen were also motivated by a larger pay check. Today we’ll take a look (albeit a censored one — you can do your Google image searches on your own time) at 15 mature actresses who did nude scenes in movies. You can decide for yourself if each instance was artistic, gratuitous, or somewhere in between.
Julianne Moore is yet another actress who has never been accused of being scared to take on challenging roles or of showing some skin in the course of filming a movie. Both of these qualities were in full display in the 2009 movie Chloe , in which Moore carries on a steamy lesbian affair with her co-star, Amanda Seyfried. Moore was 49 years old at the time, yet she manages to handle herself quite well with the much younger woman.

Jane Seymour was one of the more famous mature actresses on the scene in 2005 thanks largely to her role in the James Bond classic Live and Let Die from 1973 and her star turn in the hit TV show Dr. Quinn, Medicine Woman , which ran for five seasons in the 1990s. So it was notable when, in 2005, at the age of 54, she bared her breasts in the hit comedy The Wedding Crashers . And for the record, the former Bond Girl hardly looked to be well into her 50s in the movie; Seymour’s nude scenes would have been appreciated even without her pedigree, I’ll wager.

Celebrated and highly respected actress Helen Mirren has showed that a woman can get naked countless (actually, I’m sure many people have very carefully counted) times during her screen career without losing a bit of her respect and prestige. Thus it was that Mirren’s nude screen time in the 2003 film Calendar Girls raised few eyebrows despite the fact that the lady was almost sixty years old at the time. In fact, she was 58. And in quite good shape for that age, you will likely note.

Via: pinterest.com and afterellen.com
Pam Grier was one of the most famous females on screen during the 1970s. Her facial features, statuesque frame, and her undeniable talent as an actress made her a defining star of the blaxploitation films popular in the day. She was no stranger to nudity then, and, much to the delight of many viewers, she didn’t grow shy about showing skin even as she got older. As a cast member of the multi-season hit show The L Word , Grier went nude several times. She was well into her fifties when the series commenced in January of 2004.

Via: allhdwallpapers.com and pinterest.com
Jennifer Connelly has never been accused of being shy. That goes both for getting naked on screen as well as for the daring roles she has taken on, which include the stunning, heart-rending performance she gives as a heroin addict in Requiem for a Dream . Connelly’s nudity is always organic-feeling, moving the story ahead and defining the character; it’s not just a gratuitous ploy to keep eyes on the screen. Though… doesn’t hurt. She was 43 at the time of filming for the movie Shelter , in which she once again got nekked.

Now, to be fair, “nude” is a term that can be equivocal. After all, the film in question, The Proposal , was rated PG-13, so you know no one’s actual reproductive organs are getting any screen time. But there is nonetheless a protracted scene in which Sandra Bullock, who was 44 at the time, is 100% naked. Though all the audience actually sees is her posterior (and that of Ryan Reynolds, FYI) thanks to careful camera angles and surely even more careful editing, the woman is undeniably naked. Why does this Sandra Bullock nude scene exist? Because she’s a good sport; she read the script, realized the movie called for nudity for the bit to work, and she stripped down.

In the moving 2012 film The Sessions , respected actress Helen Hunt got very naked indeed. As in total, fully frontal nudity. And nudity from behind, too. And from the sides! The woman was naked, basically, is the point. She embraced the nude scenes because the film, in which sex plays a central and complicated role, absolutely necessitated it to advance the story and create the relationship between the charters. While Hunt was certainly easy on the eyes even one year shy of fifty, the nude scenes don’t feel scandalous or in any way pornographic, but rather like a part of the storytelling.

Nicole Kidman has been naked on screen a few times, though you might have missed the full frontal nude scenes she filmed in the 2015 thriller Strangerland. Why? Because pretty much everyone on earth missed this film, which got poor critical reviews and a very limited release. Oh well, at least the movie did prove that Kidman hardly looked to be 48 years old during the shoot. She is, shall we say, aging very well. Which is to say apparently she is hardly at all.

The dramatic film A Map of the World released just a month or so before actress Sigourney Weaver turned 50. In the film, she gave her many fans the present of a good amount of time on screen sans clothing. Weaver had been naked on screen before, but remember that this is also a woman who has kicked several aliens’ asses over the years, so you should probably maintain a respectful air when you meet her and praise her acting instead of her naked body.

Anyone who watched the hugely successful show Sex and the City can tell you that with lots of sex comes lots of nudity. The show had plenty of it, so many of you probably saw Kim Cattrall naked on the small screen plenty times. She took it all off again (and put some sushi on) in the 2008 movie inspired by the television series and also called Sex in the City . The movie was not well-loved by critics, but few people were complaining when the still-lithe 50-something Cattrall got naked once again.

Tilda Swinton is one of the most remarkable character actresses alive, and I don’t use that term in the backhanded way many people use it. While “character actress or actor” is usually used to refer to someone skilled at acting but not all that attractive, she is capable of being beautiful. She is also capable of looking like a man. Or like a vampire. Or like an elderly woman. And so on. She is an oddly magnetic actress precisely because she is so hard to nail down. And she is fearless, too, not just for the range of roles she has accepted, but also for going nude at 52.

You might know actress Charlotte Rampling from the hit Showtime series Dexter . Or you might know her from the 1974 movie The Night Porter . Or you might know her from… well, a lot. She was born in 1946 and has been in a hell of a lot of movies and shows since then. She showed she still had plenty of feminine beauty and mystique when, at the age of 62, she was on screen naked. And seducing a much younger man, by the way. Scandalous stuff, that…deception.

British Actress Anne Reid is not as widely known as some of the other actresses on this list, although much of her work has met with plenty of critical success. While she has never been a household name around the globe, the TV, stage, and film actress can be universally admired for her boldness. She went nude in the 2003 film The Mother when 68 years of age. The scenes are pretty explicit, as well: this is no quick flash of a breast, but is rather a pretty accurate-looking depiction of intercourse.

Diane Keaton was 31 when she starred in Woody Allen’s film Annie Hall and stole hearts all around the globe. Also, she won an Academy Award for Best Actress. She has been a revered presence in Hollywood ever since, so it was to the surprise and delight of many when she got 100% naked in the 2003 movie Something’s Gotta Give . She was 57 years old when the movie came out, and proved she had kept herself in fine repair.

48 is hardly old. It’s not even considered middle aged by most people anymore. But it’s not young, certainly, and it’s indeed considered older for an actress these days. But that’s how old Sharon Stone was when the movie Basic Instinct 2 was released in 2006. (So OK, she was 47 when it was filmed.) The movie was a sequel to the famously sexy Basic Instinct from 1992, a film that put Stone on the map and in the minds of men and teenage boys all around the world. In the sequel, she not only reprised her role as (suspected) killed Catherine Tramell, she also once again spent a lot of screen time naked.
... but it costs a lot of money to get that done.
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