These two chapters represent the denouement following the climax of Volume One. This leveling-off action, obviously in a lower key than that of the two climactic chapters immediately preceding, for the moment tidies up the remaining threads of the dominant plot action of the first volume. Since Mr. Elton's part in this action is finished, he is removed from the locale. Emma makes her call upon Harriet and starts trying to mend the situation for her. The present possibility of a visit from Frank Churchill is terminated. Thus the first volume concludes a developing series of significant events through which inwardly the principal characters have been changed but which leaves their outward, material circumstances essentially unaltered, at least among themselves as a fixed social group. Each of the characters primarily
involved—Emma, Harriet, Mr. Elton, George Knightley—is no closer to marrying one of the others than at the beginning of the volume. This outward non-change, then, focuses the spotlight of significance upon the inward change: And because of the limited point of view taken in the novel, the major portion of this change belongs to Emma, coming by way of revelation. Mr. Elton's revelation of his passion is important primarily because it leads Emma to a revelation about herself. Because of her self-deception she has deluded and misjudged others, and her shock of recognition—the long thoughts before going to bed and during the following days—is basically the (in this case unpleasant) discovery of the self.
In rounding out this volume, however, the author has prepared for much of what is to follow. There has been occasional mention of Jane Fairfax, of course, who is yet to be seen. But here in the denouement quite a bit of attention is directed toward Frank Churchill, who is also yet to come upon the scene. And to the perceptive reader the terminal and unusual reaction of George Knightley to Emma's interest in Frank, while it is presented with subtle artlessness and near offhandedness, will have its significance in both its final emphatic position and in the fact and object of his anger.
