二）愛情與婚姻難兩全嗎？
小說《愛瑪》中讓人印象最深刻的配角當屬埃爾頓太太，不見其人，已聞其聲，她的那段關於草莓的長篇大論經常被後世的讀者引用。
簡.奧斯汀通過驚歎號、引號和斷句打造了一段支離破碎的講話，看似埃爾頓太太一個人的獨白，實則將其他人的插話和問話省略掉了，讓讀者聽到的全是埃爾頓太太的聲音。現代文學評論家認為：奧斯汀開創的這種新的寫作手法和技巧讓我們預見到了現代主義的智慧。
另外一個讓人矚目的配角是貝茨小姐，也是個饒舌婦。第三卷第二章，當貝茨小姐來到皇冠旅館的舞會時，奧斯汀又用類似的手法寫了她的一大段喋喋不休的講話：“你們真是太好了！— 根本沒有雨。沒什麽大不了的。我自己倒不在乎。鞋子厚得很。簡說——哇！（她一進門就嚷道）。哇！這簡直是太輝煌了！— 太令人欽佩了！— 我敢說，設計得太棒了。應有盡有，難以想象。— 燈光這麽亮！— 簡，簡，你看 — 你曾經見過這些嗎？哦！韋斯頓先生，你一定是擁有了阿拉丁神燈。好心的斯托克斯太太都要認不出自己的房間了。我進來的時候就見到她了，她站在門口。‘哦！斯托克斯太太，’我說 —可我沒工夫再說下去了。”這時，韋斯頓太太過來問候她。“很好，謝謝你，太太。希望您一切都好。聽到這些很開心。我還擔心你會頭痛呢！— 經常看見你路過，知道你一定有不少麻煩事。我真的很高興聽到您身體很好。啊！親愛的埃爾頓太太，謝謝你的馬車！— 來得正是時候，簡和我正準備走呢。一刻也沒讓馬等候。好舒適的馬車呀。— 哦！我敢說，韋斯頓太太，我們得為此感謝你。— 埃爾頓太太十分親切地給簡寫了封信，不然我們就坐你的車了。— 一天裏兩次有人提出用車送我們呀！— 從沒見過這麽好的鄰居。我跟我媽媽說：‘說實在話，媽媽——’謝謝，我媽媽身體非常好，上伍德豪斯先生家去了。我讓她帶上了披巾——晚上可不暖和呀——她那條新的大披巾——是迪克遜太太的結婚禮物。— 她太好了，還想到了我媽媽！你知道，是在韋默斯買的——迪克遜先生挑選的。簡說還有另外三條，他們猶豫了一陣。坎貝爾上校喜歡橄欖色的。親愛的簡，你肯定你的鞋子沒濕嗎？— 隻下了一兩滴雨，可我還是擔心。— 弗蘭克·邱吉爾先生真是太——還找了塊墊子讓人踩著走——他太客氣了，我一輩子也忘不了。哦！弗蘭克·邱吉爾先生，我要告訴你，我媽媽的眼鏡後來再也沒出過毛病，那個鉚釘再也沒脫落過。我媽媽時常誇你脾氣好，對吧，簡？— 我們不是時常談起弗蘭克·邱吉爾先生嗎？— 啊！伍德豪斯小姐來了。— 親愛的伍德豪斯小姐，你好。— 我很好，謝謝，很好。這是相聚在仙境裏呀！— 多大的變化啊！— 我知道，不能恭維，”（得意洋洋地瞅著愛瑪）— 那樣是很魯莽的— 不過，說實在的，伍德豪斯小姐，你看上去真 —你看簡的頭發怎麽樣？— 你最有眼力。— 全是她自己梳的。她梳得多好啊！— 我想倫敦的理發師也梳不了這麽好。— 啊！我敢說是休斯大夫— 還有休斯太太。我要去跟休斯大夫夫婦聊一聊。— 你好。你好。— 我很好，謝謝。好快活呀，是吧？— 理查德先生在那兒呢？— 哦！在那兒。別打擾他。跟年輕小姐們聊天要好得多。你好嗎，理查德先生？— 那天我看見你騎著馬從城裏——我敢說，這是奧特維太太！- 還有善良的奧特維先生，奧特維小姐，卡羅琳小姐。— 這麽多朋友！— 還有喬治先生和阿瑟先生！— 你們好。各位都好。— 我很好，非常感謝。從沒這樣好過。— 我是不是聽見又來了一輛馬車？— 能是誰呢？可能是尊貴的科爾一家吧。— 說真的，跟這樣的朋友在一塊兒，多有意思啊！多旺的火啊！— 我快給烤熟了。— 不，謝謝，我不喝咖啡 — 從不喝咖啡。可以給我一些茶，先生，過一會兒吧 — 不著急— 哦！送來了。一切都這麽棒！”
（"So very obliging of you!--No rain at all. Nothing to signify. I do not care for myself. Quite thick shoes. And Jane declares-- Well!--(as soon as she was within the door) Well! This is brilliant indeed!--This is admirable!--Excellently contrived, upon my word. Nothing wanting. Could not have imagined it.--So well lighted up!-- Jane, Jane, look!--did you ever see any thing? Oh! Mr. Weston, you must really have had Aladdin's lamp. Good Mrs. Stokes would not know her own room again. I saw her as I came in; she was standing in the entrance. `Oh! Mrs. Stokes,' said I-- but I had not time for more." She was now met by Mrs. Weston.-- "Very well, I thank you, ma'am. I hope you are quite well. Very happy to hear it. So afraid you might have a headache!-- seeing you pass by so often, and knowing how much trouble you must have. Delighted to hear it indeed. Ah! dear Mrs. Elton, so obliged to you for the carriage!--excellent time. Jane and I quite ready. Did not keep the horses a moment. Most comfortable carriage.-- Oh! and I am sure our thanks are due to you, Mrs. Weston, on that score. Mrs. Elton had most kindly sent Jane a note, or we should have been.-- But two such offers in one day!--Never were such neighbours. I said to my mother, `Upon my word, ma'am--.' Thank you, my mother is remarkably well. Gone to Mr. Woodhouse's. I made her take her shawl--for the evenings are not warm--her large new shawl-- Mrs. Dixon's wedding-present.--So kind of her to think of my mother! Bought at Weymouth, you know--Mr. Dixon's choice. There were three others, Jane says, which they hesitated about some time. Colonel Campbell rather preferred an olive. My dear Jane, are you sure you did not wet your feet?--It was but a drop or two, but I am so afraid:--but Mr. Frank Churchill was so extremely-- and there was a mat to step upon--I shall never forget his extreme politeness.--Oh! Mr. Frank Churchill, I must tell you my mother's spectacles have never been in fault since; the rivet never came out again. My mother often talks of your good-nature. Does not she, Jane?--Do not we often talk of Mr. Frank Churchill?-- Ah! here's Miss Woodhouse.--Dear Miss Woodhouse, how do you do?-- Very well I thank you, quite well. This is meeting quite in fairy-land!-- Such a transformation!--Must not compliment, I know (eyeing Emma most complacently)--that would be rude--but upon my word, Miss Woodhouse, you do look--how do you like Jane's hair?--You are a judge.-- She did it all herself. Quite wonderful how she does her hair!-- No hairdresser from London I think could.--Ah! Dr. Hughes I declare-- and Mrs. Hughes. Must go and speak to Dr. and Mrs. Hughes for a moment.--How do you do? How do you do?--Very well, I thank you. This is delightful, is not it?--Where's dear Mr. Richard?-- Oh! there he is. Don't disturb him. Much better employed talking to the young ladies. How do you do, Mr. Richard?--I saw you the other day as you rode through the town--Mrs. Otway, I protest!-- and good Mr. Otway, and Miss Otway and Miss Caroline.--Such a host of friends!--and Mr. George and Mr. Arthur!--How do you do? How do you all do?--Quite well, I am much obliged to you. Never better.-- Don't I hear another carriage?--Who can this be?--very likely the worthy Coles.--Upon my word, this is charming to be standing about among such friends! And such a noble fire!--I am quite roasted. No coffee, I thank you, for me--never take coffee.--A little tea if you please, sir, by and bye,--no hurry--Oh! here it comes. Every thing so good!")
當然，主人公愛瑪是聽不進貝茨小姐的嘮叨的，很多讀者在閱讀過程中也略過了貝茨小姐的“演講”。但奧斯汀卻在這個被人忽視的老婦人的話語中巧妙地嵌入了故事的真實線索，比如，弗蘭克與簡之間早已偷偷戀愛並私定終身。如果你把《愛瑪》當作一個偵探故事來讀，抽絲剝繭，就會發現貝茨小姐的話才是最真實可靠的見證。如果你忽略了貝茨小姐貌似雞零狗碎的敘述，就會一直被愛瑪的主觀臆斷牽著鼻子走，以為英俊、聰明、幽默、殷勤的弗蘭克對愛瑪情有獨鍾。
愛瑪眼裏的弗蘭克是什麽樣的呢？第二部第十三章，奧斯汀將讀者引入了愛瑪的內心世界，如下：
“愛瑪還是毫不懷疑自己墜入了情網，隻是不確定程度有多深。起初，她以為愛得很深，後來又覺得隻是稍微有一點點。她非常喜歡聽人家談論弗蘭克·邱吉爾，因為他的緣故，比以往更喜歡見到韋斯頓夫婦。她時常想念弗蘭克，急切地等著他的來信，從信裏就知道他好不好，情緒高不高，舅媽好不好，今年春天他有沒有可能再來蘭多爾斯。但是另一方麵，她又不承認自己不開心，不承認自己在第一個早晨後比往常更懶惰。她照樣忙碌和快樂著，盡管弗蘭克討人喜歡，她還是認為他有缺點。她雖然很想念他，坐著畫畫或做針線的時候，還為他們感情的發展和結局進行千種愉悅的謀劃，幻想著有趣的對話，杜撰著一封封文字優美的信件，但每次想象著弗蘭克向她求愛時，她都拒絕了他。他們之間的情意總是落得普通的友情。所有溫柔而迷人的一切都是為了預示他們會分開，但最終仍要分離。她一意識到這一點，就驚覺自己不可能愛得很深。盡管她以前下定決心，永不離開父親，永不出嫁，可是如果發生了強烈的愛情，一定會在她心中產生她料想不到的掙紮。”
(Emma continued to entertain no doubt of her being in love. Her ideas only varied as to the how much. At first, she thought it was a good deal; and afterwards, but little. She had great pleasure in hearing Frank Churchill talked of; and, for his sake, greater pleasure than ever in seeing Mr. and Mrs. Weston; she was very often thinking of him, and quite impatient for a letter, that she might know how he was, how were his spirits, how was his aunt, and what was the chance of his coming to Randalls again this spring. But, on the other hand, she could not admit herself to be unhappy, nor, after the first morning, to be less disposed for employment than usual; she was still busy and cheerful; and, pleasing as he was, she could yet imagine him to have faults; and farther, though thinking of him so much, and, as she sat drawing or working, forming a thousand amusing schemes for the progress and close of their attachment, fancying interesting dialogues, and inventing elegant letters; the conclusion of every imaginary declaration on his side was that she refused him. Their affection was always to subside into friendship. Every thing tender and charming was to mark their parting; but still they were to part. When she became sensible of this, it struck her that she could not be very much in love; for in spite of her previous and fixed determination never to quit her father, never to marry, a strong attachment certainly must produce more of a struggle than she could foresee in her own feelings.
“ ‘我發現自己並沒有使用犧牲這個字眼，’ 她心想。‘我做了那麽多機敏的回答，巧妙的否定，卻沒有一次暗示過要作出犧牲。我並不認為一定非得到他才能幸福，沒有他反而會更好。我絕對不會讓自己愛得更深。我已經愛得夠深了，不可能再深了。’
總的說來，一想到弗蘭克的感情，她同樣感到滿意。”
（"I do not find myself making any use of the word sacrifice," said she.-- "In not one of all my clever replies, my delicate negatives, is there any allusion to making a sacrifice. I do suspect that he is not really necessary to my happiness. So much the better. I certainly will not persuade myself to feel more than I do. I am quite enough in love. I should be sorry to be more."
Upon the whole, she was equally contented with her view of his feelings.
“ ‘毫無疑問，他已經深陷情網——種種跡象都表明了這一點——的的確確深陷情網！— 等他再來的時候，如果他仍舊情意綿綿，我必須小心翼翼地不再鼓勵他。— 既然我的心意已定，不這樣做是絕對不可寬恕的。我倒不是料想他會覺得我一直在鼓勵他。不，如果他當真相信我也對他有意思，他就不會這麽怏怏不樂了。如果他認為我是在鼓勵他的話，他臨別時的表情和言談就會是另一副情形。— 然而，我還是得謹慎。這是假定他還像現在這樣迷戀我，不過我不確定一切是否如初。我不認為他是那種人——我根本不指望他會堅定不移和忠貞不渝。— 他的感情是熱烈的，但我可以想象得出是多變的。— 總之，每每想到這些，我都慶幸沒有把我的幸福過多地指望在這份依戀中。— 我會很快沒事的 —到那時，這又會成為一件好事了，因為據說每一個人一生都會墜入情網一次，而我一定會輕而易舉地解脫出來。’”
（"He is undoubtedly very much in love—every thing denotes it—very much in love indeed!—and when he comes again, if his affection continue, I must be on my guard not to encourage it.—It would be most inexcusable to do otherwise, as my own mind is quite made up. Not that I imagine he can think I have been encouraging him hitherto. No, if he had believed me at all to share his feelings, he would not have been so wretched. Could he have thought himself encouraged, his looks and language at parting would have been different.—Still, however, I must be on my guard. This is in the supposition of his attachment continuing what it now is; but I do not know that I expect it will; I do not look upon him to be quite the sort of man—I do not altogether build upon his steadiness or constancy.—His feelings are warm, but I can imagine them rather changeable.—Every consideration of the subject, in short, makes me thankful that my happiness is not more deeply involved.—I shall do very well again after a little while—and then, it will be a good thing over; for they say every body is in love once in their lives, and I shall have been let off easily." )
然而現實與愛瑪的主觀感覺恰好相反，弗蘭克正偷偷地與孤女簡相愛，但他假裝對愛瑪很殷勤，以轉移鄰人們的視線。如果讀者一直跟隨愛瑪的視野看問題，不知不覺間就被弗蘭克愚弄了。再舉書中一個生動的例子：
第二卷第十章，“她們（愛瑪、韋斯頓太太，貝茨小姐）走進那間小起居室，發現裏麵安安靜靜的：貝茨太太沒有做她平時做的事，坐在火爐邊打瞌睡；弗蘭克·邱吉爾坐在她旁邊的一張桌子邊，正聚精會神地忙著給她修眼鏡；簡·費爾法克斯則背朝著他們站在那兒，目不轉睛地望著鋼琴。
那位年輕人雖然正忙著，但是一見到愛瑪，仍然露出一副高興的表情。
‘真令人高興，’他說，聲音壓得很低，‘比我預料的至少早到了十分鍾。你們瞧，我想幫點兒忙。你們看我能不能修好。’
‘什麽！’韋斯頓太太說，‘還沒修好啊？如果你是個銀匠的話，按這個速度做活，可掙不了錢過好生活。’
‘我又不是一直在修眼鏡，’弗蘭克答道。‘我剛才幫費爾法克斯小姐把她的樂器放穩。原來放得不大穩，我想是因為地板不平。你瞧，我們已經在一條琴腿底下墊上了紙。你們真好，給請來了。我還有點擔心你們要急著回家呢。’
他設法讓愛瑪坐在他身邊，殷勤地給她挑了個最好的烤蘋果，還請她幫幫忙，指點他修眼鏡，直至簡·費爾法克斯準備就緒，再一次坐在鋼琴跟前。她沒有馬上準備好，愛瑪懷疑這是心緒不寧的緣故，她擁有這架鋼琴的時間還算太長，無法做到心平氣和地彈奏，必須冷靜一下才能感受表演的力量。這種心情不管源自何因，愛瑪隻能表示憐憫，隻能打定主意不將其暴露給她旁邊的幾個人。
簡終於開始演奏了。盡管頭一個小節彈得有氣無力，但是鋼琴的良好性能漸漸地充分發揮出來了。韋斯頓太太以前聽得樂滋滋的，這次又聽得樂滋滋的。愛瑪跟她一起讚歎不已。還有那架鋼琴，經過種種嚴格的鑒定，被宣稱為上上品。”
(The appearance of the little sitting-room as they entered, was tranquillity itself; Mrs. Bates, deprived of her usual employment, slumbering on one side of the fire, Frank Churchill, at a table near her, most deedily occupied about her spectacles, and Jane Fairfax, standing with her back to them, intent on her pianoforte.
Busy as he was, however, the young man was yet able to shew a most happy countenance on seeing Emma again.
"This is a pleasure," said he, in rather a low voice, "coming at least ten minutes earlier than I had calculated. You find me trying to be useful; tell me if you think I shall succeed."
"What!" said Mrs. Weston, "have not you finished it yet? you would not earn a very good livelihood as a working silversmith at this rate."
"I have not been working uninterruptedly," he replied, "I have been assisting Miss Fairfax in trying to make her instrument stand steadily, it was not quite firm; an unevenness in the floor, I believe. You see we have been wedging one leg with paper. This was very kind of you to be persuaded to come. I was almost afraid you would be hurrying home."
He contrived that she should be seated by him; and was sufficiently employed in looking out the best baked apple for her, and trying to make her help or advise him in his work, till Jane Fairfax was quite ready to sit down to the pianoforte again. That she was not immediately ready, Emma did suspect to arise from the state of her nerves; she had not yet possessed the instrument long enough to touch it without emotion; she must reason herself into the power of performance; and Emma could not but pity such feelings, whatever their origin, and could not but resolve never to expose them to her neighbour again.
At last Jane began, and though the first bars were feebly given, the powers of the instrument were gradually done full justice to. Mrs. Weston had been delighted before, and was delighted again; Emma joined her in all her praise; and the pianoforte, with every proper discrimination, was pronounced to be altogether of the highest promise.）
顯然，愛瑪並沒有察覺到弗蘭克和簡之間有什麽特別不妥當的地方，可是如果你重讀之前的那一章（第二卷第九章），就會從貝茨小姐的斷斷續續嘮叨中發現：弗蘭克是特地找借口去了貝茨小姐的公寓，並將她打發到大街上邀請愛瑪來家裏做客。貝茨小姐走後，房間裏隻剩下他、睡著了的老貝茨太太和簡三人。兩個年輕人趁機私會，會做些什麽呢？擁抱、親吻、耳鬢廝磨？— 但凡有過戀愛經曆的讀者都可以腦補出這些情節。隻是沒想到愛瑪她們提前十分鍾來到了公寓，擁抱中的一對戀人聽到腳步聲，慌慌張張地分開，弗蘭克假裝鎮定地修眼鏡，簡背朝著他，目不轉睛地盯著鋼琴，卻仍難以撫平內心的緊張和激動。演奏技巧高超的她竟然沒有彈好第一個小節，琴音有氣無力的。- 四十不惑後重讀《愛瑪》，我終於猜到了這些不曾展現在字裏行間的真相。可見簡.奧斯汀具有非凡的戲劇創作才能，她並沒有直接告訴讀者書中其他角色的性格和內心感受，卻通過這些看似平凡的細節描寫一一展現了鮮明的個體。她在這方麵的才能可與戲劇大師莎士比亞相媲美。
簡.奧斯汀生前認為，幸福的婚姻必須建立在兩情相悅和良好的經濟基礎上，兩者缺一不可。她短暫的一生寫了數部美好的愛情故事，卻一輩子不結婚。難道她早已看透愛情與婚姻兩難全的現實，不再抱有玫瑰色的幻想，所以給自己筆下的人物都安排了美好的結局，以彌補內心的缺憾？
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