Last month I talked about Austen’s Sense & Sensibility vs. Georgette Heyer’s A Civil Contract, and I’m back at it! Let’s look at Emma next to Heyer’s The Grand Sophy, one of my absolute favorites.
Now, right off the bat, even though I love these two authors, I’ll be the first to admit that Heyer is no Austen. Heyer was writing witty, light-hearted comedy and romance in various historical periods, while Austen was writing subtle social satire on her own society and era. Very different!
However, as many readers (like me) love both, it IS interesting to see where they overlap. So, onward!
Heroines Who Take Charge: Sophia Stanton-Lacy and Emma Woodhouse
Both are bold and resourceful young women, confident they can improve the lives of those around them. Sophy arrives in London and immediately sets about solving the problems of her relatives, particularly her cousin Cecilia, but also the younger cousins and her older cousin, Charles. She’s assertive, clever, and willing to break social norms to get results (even visiting a money-lender!). Her larger-than-life personality drives the story as she arranges matches, mends strained relationships, and even involves herself in the finances of her aunt and uncle. Emma, on the other hand, is firmly rooted in her small village of Highbury, but just as confident. She sees herself as a matchmaker and believes she has a talent for orchestrating her friends’ lives.
Unlike Sophy, who is an astute judge of human nature and usually correct in her observations, Emma usually isn’t. She misjudges both Harriet Smith’s affections and potential and Jane Fairfax’s, as well as Mr. Elton and Frank Churchill’s intentions. You could say she also completely misreads Mr. Knightley. Emma’s confidence in her judgment blinds her to the feelings and motivations of those around her. Both heroines are active participants in their lives, even ruthless in how they manage others, but Sophy’s motives are generally more selfless and clear-sighted, while Emma’s meddling flows from a mix of (well-intentioned) class pride and naivety.
Supporting Cast and Relationships
In The Grand Sophy, Sophy’s relatives, the Ombersleys, take the place of the Highbury community. Each family member has their own challenges, from Cecilia’s first romantic attachment to Hubert’s secret debt. In similar fashion to Emma, Sophy influences Cecilia to let go of a “lesser” suitor in exchange for a wealthy peer, reminiscent of how Emma makes Harriet throw off Robert Martin in exchange for Mr. Elton. However, Sophy is right that Cecilia’s poet isn’t very in love with her—more in love with the idea of love—while Lord Charlbury cares very much for her and is a mature and stable adult. (That love triangle is hilarious and sweet, one of my favorites.)
Now in Emma, you can probably name the supporting cast fast enough to win a Jeopardy game, so I won’t go over each of them. But I will say the relationships in Emma are more focused on satire than comedy, like the man of the church who is shallow and bad-natured, and the former governess (Mrs. Weston) who is the best behaved and well-bred of everyone. Another key difference is the heroines’ approach to relationships. Sophy is direct and pragmatic, using her her diplomat father’s wisdom about people to guide her. Emma is often blinded by her assumptions, both romantic and otherwise, leading to hurt and embarrassment.
Romantic Leads
In The Grand Sophy, the romantic tension between Sophy and her cousin Charles Rivenhall is evident from their first meeting. (Although, ugh! Cousins again, why??) Anyway, Charles, the head of the Ombersley family, initially clashes with Sophy over her unconventional behavior in giving the children a monkey, but gradually he and Sophy grow in mutual respect and attraction. (And he even likes the monkey.) Charles is quite critical of Sophy on occasion, like Mr. Knightley is critical of Emma’s behavior at Box Hill, but Charles is usually shown to be wrong (though not always), while Mr. Knightley is usually right. Compared to Sophy and Charles, Emma and Mr. Knightley’s romance is more understated and rooted in emotional growth rather than dramatic clashes. Sophy and Charles’s relationship emphasizes their equality in intelligence and strength of character, while Emma and Mr. Knightley’s romance centers on Emma’s journey toward self-awareness and humility.
Tone and Style
One of the biggest differences between the two novels is tone. Austen’s prose is crafted to reveal the characters’ inner thoughts and social commentary. The humor in Emma often comes from irony and the contrast between Emma’s perceptions and reality. These differences in tone make The Grand Sophy feel more like a fast-paced adventure, while Emma invites readers to reflect on its characters and themes. The endings of both novels are satisfying but reflect their different tones and focuses. In The Grand Sophy, everything wraps up neatly. The romantic misunderstandings are resolved, the financial troubles are (mostly) fixed, and Sophy’s influence leaves the Ombersley family happier. Emma concludes with a sense of balance and personal fulfillment, while acknowledging that not everything works out perfectly.
After I talked about this with my daughter, she asked, “Is the takeaway that Emma’s meddling would have been fine if she’d been better at it?” Whoops, definitely not! The moral lesson of Emma is far superior to that of The Grand Sophy. However, they are both excellent reads on a cold winter’s day!
Wishing cozy reading to everyone,
Corrie
P.S. If you enjoy matchmaking, misguided or otherwise, check out my own retelling Starch and Strategy–where Lizzy Bennet somewhat ruthlessly determines to arrange a better match for Charlotte Lucas!
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