Bright as the morning light, a drop of sunlight  falling from the sky


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It is the color par exellence  representing the sun, the heat, the light.  Declined in all its nuances yellow is usually the trendy color of spring and summer but but its energizing boost will continue to brighten even the darkest winter days with the  yellow monocolour handbag rubbished in calf leather with golden polished metal buckle. This handbag belongs to the Fall/Winter Collection  2015-16 of the Italian-Brazilian designer Paula Cademartori.

The yellow handbag, together with the others belonging to the collection, will be in the shops since July 2015. The bag scents of spring lemons with their taste and unmistakable aroma.

Wearing this bag, therefore, will have the energizing power of a glass of lemon juice drunk in the morning and will make us smell the scent of summer days. The fresh color and the gently solar tone of this glamorous accessory will prolong the beauty of the sunny season bringing sparkling vitality in our daily lives, giving us a naturally radiant look just like that of  Emma Woodhouse, the heroine of the novel Emma by Jane Austen.




 “Oh! you would rather talk of her person than her mind, would you? Very well; I shall not attempt to deny Emma’s being pretty.”“Pretty! say beautiful rather. Can you imagine any thing nearer perfect beauty than Emma altogether—face and figure?”“I do not know what I could imagine, but I confess that I have seldom seen a face or figure more pleasing to me than hers. But I am a partial old friend.” “Such an eye!—the true hazle eye—and so brilliant! Regular features, open countenance, with a complexion! oh! what a bloom of full health, and such a pretty height and size; such a firm and upright figure! There is health, not merely in her bloom, but in her air, her head, her glance. One hears sometimes of a child being `the picture of health;’ now, Emma always gives me the idea of being the complete picture of grownup health. She is loveliness itself.


Quick and decided in her ways Emma Woodhouse is “ handsome, clever, and rich, with a comfortable home and happy disposition”, she seems to unite some of the best blessings of existence. Emma has lived nearly twenty-one years in the world with very little to distress or vex her. Energetic and rational, Emma loves joy and discussions even if she often tends to transcend. Diligent and industrious, the young girl often wants to impose her will, probably because she is very self-confident. It seems she does not lack anything but, in fact, the young woman is alone: she lives with her widowed father, Mr. Woodhouse, a man at first sympathetic but rather selfish and obnoxious; she loves him dearly and does not even think of abandoning him for a possible marriage. Perhaps it is for this reason that, once she loses the company of her dearest governess after she gets married  with a neighbor, Emma starts to feel affection for the young and naive Harriet Smith and takes her under her protection.

Harriet Smith is  the daughter of unknown parents who boards at the local school and  she is  “quite convinced of Harriet Smith’s being exactly the young friend she wants, exactly the something which her home requires”. So Emma loses “no time in inviting, encouraging, and telling her to come very often; and as their acquaintance increased, so did their satisfaction in each other. As a walking companion, Emma had very early foreseen how useful she might find her.” 

In a small world made up  of modest landowners, Anglican priests, governesses and old ladies who feed on gossip, where social conventions are strictly respected and every behavior is based on a sense of proportion, Emma is the exception. In her independent judgment and imagination she becomes an acute observer and interpreter of the feelings of all the characters in the novel. Her voice and  her eyes overlap the narrator and give us back the events, misunderstandings, small intrigues that take place in the village of Highbury.

Miss Woodhouse was so great a personage in Highbury, that the prospect of the introduction had given as much panic as pleasure; but the humble, grateful little girl went off with highly gratified feelings, delighted with the affability with which Miss Woodhouse had treated her all the evening, and actually shaken hands with her at last!” 

In fact ,Emma finds her double in the mild, sweet, silly Harriet and rewards her with the romantic adventures that she does not want or can not live. This represents a shift from one to another deception, from a misunderstanding to misjudgment, she receives declarations of love from admirers of Harriet’s admirers and pushes her into embarrassing situations.

Emma, ​​unlike the other heroines of Jane Austen, does not aspire to marriage, on the contrary, she considers it as a huge limitation to her personality and fears that her intelligence and her will might be strongly suppressed by a future family life. Emma is basically a young heiress who, claiming not to be inclined to marry herself, likes to arrange marriages between relatives and acquaintances. So, like a Cupid,  she employs her lively imagination that often shows her  reality differently from what it is, meets her presumption controlling her friends’ life  and satisfies her narcissism taking credit of the happiness of others just like as when talking with Mr Knightlley about her housekeeper and friend Miss Taylor’s marriage, Emma claims :

“And you have forgotten one matter of joy to me,” said Emma, “and a very considerable one—that I made the match myself. I made the match, you know, four years ago; and to have it take place, and be proved in the right, when so many people said Mr. Weston would never marry again, may comfort me for any thing.” 

In fact Emma is suffering from the lack of a friend and her loneliness is also caused by her inability to communicate with those around her. Her father is an old hypochondriac whom she constantly tries to reassure, Miss Weston is too attached to her to be a conversational and objective partner and dialogue with Harriet is based on a difference of class and age that makes the second completely dominated by the first .

Hence, with sharpness and modernity, Jane Austen creates for her female character a vicarious existence in which her heroine tries unconsciously to love through her friends’ loves, emotions and upsets.

Eventually Emma’s weaknesses, all promoted by an excess of imagination, though continually put out by the text, are not particularly serious but  she plays the role of the naive reader,  allowing herself to rewrite the text according to her desire since “a lively mind and quiet .. do not see anything that does not like.” In Emma everything is mild, bright, airy, it is all about the happiness of the small things: Emma does nothing but scheming, foolishly matchmaking. She never understands what is happening; if she investigates, she follows false clues. But how could we not love her when we see her walking through Highbury and Hartfield, with her sparkling hazel eyes, her open face,  and her graceful proportions! Emma will conquer us with her rare gift: she is happy, happy every moment, happy to be alive and living in the world; she is in love with life itself, of its quietness, and of its own rhythm. 




This spring Cupid  is armed and dangerous

Mr. Knightley came in, and distressing thoughts were put by. After the first chat of pleasure he was silent; and then, in a graver tone, began with, “I have something to tell you, Emma; some news.” “Good or bad?” said she, quickly, looking up in his face. “I do not know which it ought to be called.” “Oh! good I am sure.—I see it in your countenance. You are trying not to smile.” “I am afraid,” said he, composing his features, “I am very much afraid, my dear Emma, that you will not smile when you hear it.” “Indeed! but why so?—I can hardly imagine that any thing which pleases or amuses you, should not please and amuse me too.” “There is one subject,” he replied, “I hope but one, on which we do not think alike.” He paused a moment, again smiling, with his eyes fixed on her face. “Does nothing occur to you?— Do not you recollect?—Harriet Smith.” Her cheeks flushed at the name, and she felt afraid of something, though she knew not what. “Have you heard from her yourself this morning?” cried he.

“You have, I believe, and know the whole.” “No, I have not; I know nothing; pray tell me.” “You are prepared for the worst, I see—and very bad it is. Harriet Smith marries Robert Martin.” “Good God!” she cried.—”Well!”—Then having recourse to her workbasket, in excuse for leaning down her face, and concealing all the exquisite feelings of delight and entertainment which she knew she must be expressing, she added, “Well, now tell me every thing; make this intelligible to me. How, where, when?—Let me know it all. I never was more surprized—but it does not make me unhappy, I assure you. “You need not be at any pains to reconcile me to the match. I think Harriet is doing extremely well…


Emma is “handsome, clever, and rich, with a comfortable home and happy disposition.” In some ways, the twenty-one year-old girl lives with her old father and her governess, Anne Taylor. Her sister Isabella is married so she is already the head of her father’s household. She cares for her father and oversees the social goings-on in the village of Highbury. When Miss Taylor leaves the family home to get married, Emma takes in Harriet, the “natural daughter of somebody”. Harriet is a pretty seventeen-year-old who proves to be engaging, proper, and deferential towards Emma who decides to “improve her” and spends her time in forming schemes for doing so.  Harriet becomes such a good walking companion that Emma is confirmed in her kind designs, recognizing that, though Harriet is not clever, she is sweet and grateful and needs only guidance. “She was a very pretty girl, and her beauty happened to be of a sort which Emma particularly admired. She was short, plump, and fair, with a fine bloom, blue eyes, light hair, regular features, and a look of great sweetness, and, before the end of the evening, Emma was as much pleased with her manners as her person, and quite determined to continue the acquaintance.” The novel revolves around Emma’s mistakes and growing self-understanding, but mostly on her self-deception so she makes a serious mistake in letting her willful wish and imagination convince her that Harriet, who is so pretty and amiable, must come from gentility. Harriet likes Robert Martin but Emma, observing him from a distance, remarks that he is plain and entirely lacking in gentility thus leading Harriet to compare him unfavorably with  another gentleman,  George Knightley. George Knightley is a realist, a man of understanding or reason, and he is quite right about Emma’s misplaced confidence in her abilities as a matchmaker and he refers ironically to “Emma’s genius for foretelling and guessing,” but he is too amiable really to interpose. Emma is really directing Harriet every minute so when she receives a letter with a direct proposal of marriage from Robert Martin she suggests that Harriet write her refusal to him. Emma non comprenda il reale amore fra Harriet e Mr Martin, intendendo lei stessa il matrimonio solo in termini economici o di posizione sociale. Harriet quite naturally is drawn toward Robert so as soon as George Knightley knows about the refusal he is indignant and accuses Emma of misleading Harriet into pretension and false hope,  “Better be without sense, than misapply it as you do” he tells Emma.  He guesses that Mr. Elton is the object of Emma’s intrigue and assures her that it will not work. Emma’s self-deception lies in the fact that she is more than ever determined to read every act by Mr. Elton as a growing interest in Harriet so she is disappointed, even irritated, at the lack of ultimate results. She thinks he’s just very “cautious” so she feels utterly surprised and somewhat disgusted when Mr Elton declares his love for her.  Emma doesn’t show any sentimental interest in the men she meets and even her infatuation for Frank Churchill is extremely far from romantic love. Walking the next morning on a charitable visit to a poor sick family, Emma answers a question from Harriet by declaring the improbabilities of her ever marrying. “I do so wonder, Miss Woodhouse, that you should not be married, or going to be married! so charming as you are!”— Emma laughed, and replied, “My being charming, Harriet, is not quite enough to induce me to marry; I must find other people charming—one other person at least. And I am not only, not going to be married, at present, but have very little intention of ever marrying at all.” “Ah!—so you say; but I cannot believe it.” “I must see somebody very superior to any one I have seen yet, to be tempted; Mr. Elton, you know, (recollecting herself,) is out of the question: and I do not wish to see any such person. I would rather not be tempted. I cannot really change for the better. If I were to marry, I must expect to repent it.” “Dear me!—it is so odd to hear a woman talk so!”— “I have none of the usual inducements of women to marry. Were I to fall in love, indeed, it would be a different thing! But I never have been in love; it is not my way, or my nature; and I do not think I ever shall.

But she is wrong one more time! Emma is still resolved never to marry, but, after a brief  infatuation for Frank Churchill she comes to a revelation about herself. She still tires to manipulate her friends’ life scheming about Jane Fairfax manipulating her toward a suitable partner but , to her astonishment, it will turn out that Jane and Frank Churchill have long been engaged.

Emma, who hasn’t achieved self knowledge yet, hasn’t lost  her propensity to manage others and can even shift her own feelings for Frank into another possible “management” for Harriet. Marriage, of course, is still the focal point for her scheming. And when a new character, Augusta Elton, is introduced as one who also likes to manage things she will be another major factor in Emma’s gradual maturing into self-knowledge. In fact, Augusta is a flagrant example of how far one can go in self-importance and in “management. At this point in the story Emma is beginning to get over the involvement  with Frank : the practical and reasoning side of her nature is starting to reassert itself. Interestingly enough Augusta, that Emma describes as an “insufferable woman” helps her subconsciously learn something of herself.  Emma’s still-developing character leads her to consider George Knightley more and more important in her life and she will understand the nature of her real feelings for him when Harriet tells her of her infatuation for the man. This is the crucial turning point for Emma since she has to acknowledge and try to come to terms with what she has done to Harriet and with the fact that she herself loves George and, in  the end, things sort themselves out with Harriet marrying the eligible farmer and Emma marrying Mr Knightley.

Valentina C. by 101bags


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