Ferghana state university faculty of foreign languages department of philology and teaching languages

Colonel and Mrs. Campbell were friends of Jane Fairfax's late father. Since Jane was their guest for extended visits, they took over her education in preparation for her serving as a governess when she grew up. They provided her every advantage possible, short of adoption, and were very fond of her.
Mrs. Goddard is the mistress of a boarding school for girls in which Harriet Smith is one of the students. She is also a frequent companion to Mr. Woodhouse along with Mrs. Bates.
Mr. William Larkins is an employee on the Donwell Abbey estate of Mr. Knightley. He frequently visits the Bateses, bringing them gifts, such as apples, from Mr. Knightley.

Title page from 1909 edition of Emma.
1.3 “Emma" is very effective novel
Emma was written after the publication of Pride and Prejudice and was submitted to the London publisher John Murray II in the autumn of 1815. He offered Austen £450 for this plus the copyrights of Mansfield Park and Sense and Sensibility, which she refused. Instead, she published two thousand copies of the novel at her own expense, retaining the copyright and paying a 10% commission to Murray. The publication in December 1815 (dated 1816) consisted of a three-volume set in duodecimo at the selling price of £1.1s (one guinea) per set.
Prior to publication, Austen's novels had come to the attention of the Prince Regent, whose librarian at Carlton House, a Mr. Clarke, showed her around the Library at the Prince Regent's request, and who suggested a dedication to the Prince Regent in a future publication. This resulted in a dedication of Emma to the Prince Regent at the time of publication and a dedication copy of the novel sent to Carlton House in December 1815.
In America, copies of this first publication were sold in 1818 for $4 per copy, as well as an American edition published by Mathew Carey of Philadelphia in 1816. The number of copies of this edition are not known. A later American edition was published in 1833 and again in 1838 by Carey, Lea, and Blanchard. A French version was published in 1816 by Arthus Bertrand, publisher for Madame Isabelle De Montolieu. A second French version for the Austrian market was published in 1817 Viennese publisher Schrambl,
Richard Bentley reissued Emma in 1833, along with Austen's five other novels, in his series of Standard Novels. This issue did not contain the dedication page to the Prince Regent. These editions were frequently reprinted up until 1882 with the final publication of the Steventon Edition. Emma has remained in continuous publication in English throughout the remainder of the nineteenth century and into the twentieth and twenty-first centuries. In addition to the French translation already mentioned, Emma was translated into Swedish and German in the nineteenth century and into fifteen other languages in the twentieth century including Arabic, Chinese, Danish, Dutch, German and Italian.
Prior to publishing, John Murray's reader, William Gifford, who was also the editor of the Quarterly Review, said of the novel that "Of Emma I have nothing but good to say. I was sure of the writer before you mentioned her. The MS though plainly written has yet some, indeed many little omissions, and an expression may now and then be amended in passing through the press. I will readily undertake the revision.” Early reviews of Emma were generally favourable, and were more numerous than those of any other of Austen's novels. One important review, requested by John Murray prior to publication by Sir Walter Scott, appeared anonymously in March 1816 in the Quarterly Review, although the date of the journal was October 1815. He writes:
The author is already known to the public by the two novels announced in her title page, and both, the last especially, attracted, with justice, an attention from the public far superior to what is granted to the ephemeral productions which supply the regular demand of watering- places and circulating libraries. They belong to a class of fictions 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...Emma has even less story than either of the preceding novels...The author's knowledge of the world, and the peculiar tact with which she presents characters that the reader cannot fail to recognize, reminds us something of the merits of the Flemish school of painting. The subjects are not often elegant, and certainly never grand: but they are finished up to nature, and with a precision which delights the reader.
Two other unsigned reviews appeared in 1816, one in The Champion, also in March, and another in September of the same year in Gentleman's Magazine. Other commenters include Thomas Moore, the Irish poet, singer and entertainer who was a contemporary of Austen's; he wrote to Samuel Rogers, an English poet, in 1816:
"Let me entreat you to read Emma - it is the very perfection of novel-writing – and I cannot praise it more highly than by saying it is often extremely like your own method of describing things – so much effect with so little effort!"
A contemporary Scottish novelist, Susan Edmonstone Ferrier, wrote to a friend, also in 1816:
"I have been reading Emma, which is excellent; there is no story whatever, and the heroine is not better than other people; but the characters are all true to life and the style so piquant, that it does not require the adventitious aids of mystery and adventure."
There was some criticism about the lack of story. John Murray remarked that it lacked "incident and Romance”; Maria Edgeworth, the author of Belinda, to whom Austen had sent a complimentary copy, wrote:
there was no story in it, except that Miss Emma found that the man whom she designed for Harriet's lover was an admirer of her own – & he was affronted at being refused by Emma & Harriet wore the willow – and smooth, thin water-gruel is according to Emma's father's opinion a very good thing & it is very difficult to make a cook understand what you mean by smooth, thin water-gruel!!
Austen also collected comments from friends and family on their opinions of Emma . Writing several years later, John Henry Newman observed in a letter about the novel:
Everything Miss Austen writes is clever, but I desiderate something. There is a want of body to the story. The action is frittered away in over-little things. There are some beautiful things in it. Emma herself is the most interesting to me of all her heroines. I feel kind to her whenever I think of her...That other women, Fairfax, is a dolt- but I like Emma.
Later reviewers or commenters on the novel include Charlotte Brontë, George Henry Lewes, Juliet Pollock, Anne Ritchie, Henry James, Reginald Farrer, Virginia Woolf, and E.M. Forster . Other reviewers include Thomas Babington Macauley who considered Austen to be a "Prose Shakespeare”. and Margaret Oliphant who stated in Blackwood's Edinburgh Magazine in March that she prefers Emma to Austen's other works and that it is "the work of her mature mind”. Although Austen's Pride and Prejudice is the most popular of her novels, critics such as Robert McCrum suggest that "Emma is her masterpiece, mixing the sparkle of her early books with a deep sensibility" and John Mullan has argued that Emma was a revolutionary novel which changed the shape of what is possible in fiction" because "The novel bent narration through the distorting lens of its protagonist’s mind".