Jane Austen's classic is not simply a story of Emma Woodhouse's journey of self-discovery, nor a simple country love story, but rather, Emma recounts the anxiety of his time: the destabilization of classes. As the Industrial Revolution brought about the democratization of money, more and more people were able to climb the social ladder in England than ever before. With the formation of the “new middle class”, the class distinction faded and the crisis of bourgeois identity was triggered. With so many people having access to signs of wealth such as clothing, furniture, and the means to escape the city, it became difficult to distinguish the new middle class from the nobility. From the characterization of the Eltons, Coles, Martins and Sucklings to the geography of the setting, Emma reveals the fear of infiltration of bourgeois society. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essayPerhaps Austen's best characterization of the nouveau riche comes in the form of Mr. and Mrs. Cole. “Very good people...of low origin, merchants and moderately distinguished,” the Coles managed to improve their means considerably in a short time to become, “in wealth and style of life, second only to wealth and lifestyle. to the family of Hartfieldî (132). Emma is particularly offended by their social ascension and is determined to refuse their invitation to a dinner: "The Coles were very respectable in their own way, but they should be taught that it was not their place to set the conditions under which the superior families visited them” (132). It is only after Emma realizes that all of her friends will be present at the party that she chooses not to exercise her "power of refusal" (132), but rather to accept his invitation, thus further facilitating the merging classes. Interesting illustrations of the dismantling of the class hierarchy are Austen's choice for the setting of her characters. Highbury is located in the countryside and consists mainly of estates and cottages. What is interesting to note is the status of these areas and their relationships to each other. Most telling is George Knightley's huge Donwell Abbey estate, associated with a lineage predating Henry VIII, and its connection to Abbey Mill Farm and Hartfield. Given its name relationship and proximity to Donwell Abbey, it is highly likely that Abbey Mill Farm was once part of the Knightley estate. But the farm is now occupied and owned by Robert Martin and his family and is no longer in an inferior position to that of Donwell. Likewise, given Hartfield's proximity to Donwell Abbey, it is conceivable that it was also previously associated with the wider estate. This geography is an effective illustration of the fracture of the countryside and the dismantling of paternal domination. Another particularly effective depiction of the vulnerability of the countryside is Austen's account of Harriet's attack by gypsies. In a passage similar to Dickens's description of the working class's uncomfortable proximity to the suburbs, Austen writes: "[T]he Richmond Road, which, though apparently sufficiently public for their safety, had alarmed them. "About half a mile beyond Highbury, making a sharp turn, and deeply shaded by elms on either side... they had suddenly seen... a group of gypsies" (214). In this scene, Harriet and her companion are approached by “half a dozen children, led by a fat woman” (214) who are begging for money. After Harriet told themgiven a shilling and begged them not to harm her, she is approached again, “or rather surrounded, by the whole gang, demanding more” (214). This description characterizes the popular caricature of the teeming masses of the working class and constitutes a further representation of bourgeois social fears. Perhaps even more telling than the characterization of the gypsies in this scene is the characterization of Harriet. Throughout this passage, Harriet is referred to as "Miss Smith" and a "lady", thus obscuring Harriet's class affiliation. At this point, Austen shows the reader that Harriet's class is not in question and that the inability to distinguish classes in this society is becoming increasingly difficult. Not only is the fear of invasion embodied in the gypsy attack, but the anxiety of infiltration is also highlighted by Harriet's new class ambiguity. Despite her new genteel skills in this scene, Harriet is still masterfully prevented from rising too high at Highbury through her appropriation by Emma. Emma, ​​in her obsessive narcissism, names Harriet her protégé and takes on the role of friend and guide. But, rather than improving Harriet's position, Emma's concerns revolve around how Harriet might be most useful to her and how Harriet's actions will best reflect Emma's reputation. As Emma's imagination inspires her to invent a story for Harriet, Harriet takes on the role of Emma's canvas, both literally and figuratively. When Emma isn't painting Harriet's portrait, she's stylizing her character, including telling her who she should and shouldn't marry. Throughout the text, Harriet is continually referred to as "Nobody", further emphasizing her dehumanization by Emma. As Austen writes: "Harriet had a gentle, docile, and grateful character...[and]...On the whole, [Emma] was quite convinced that Harriet Smith was exactly the young friend she wanted - exactly what her home needed...Harriet would do it. to be loved as someone to whom she could be useful” (15). In this way, Harriet's class ambiguity is eclipsed and controlled by Emma's appropriation of her. Augusta Elton is another character who illustrates the blurring of class distinctions through her appropriation of signs of wealth. Besides her repeated references to Bath, Maple Grove, and the elegant carriage of her relative, the Sucklings, the desire of Augusta's soul is to manage everyone and everything, and to secure a position in bourgeois society. In her attempt to fit into genteel society, Augusta is acutely aware of the position of those around her and, as a result, her motivation to manage others evolves toward the commodification of Jane Fairfax. As “twins” of snobbery and manipulation, Emma and Augusta take it upon themselves to locate those in a position of inferiority and, through commodification, they seek to maintain their respective statures. While Emma repeatedly snubs Robert Martin, the Coles, and others, Augusta thinks quite highly of herself and makes Harriet the target of her reprimand. This act of snobbery is particularly ironic given that Augusta and Harriet are both descended from merchant parents. Likewise, Emma and Augusta both seek to take care of underprivileged young women to prepare and improve them. As Augusta describes her intentions towards Jane, the reader can hear the echo of Emma's statements regarding Harriet: Jane Fairfax is absolutely charming...I'm really delighted with Jane Fairfax. A gentle and interesting creature. So sweet and distinguished... She is very shy and silent. We see that she needs encouragement... I am a.