WHAT IS THERE TO BE DEPRESSED ABOUT? ADOLESCENCE IS TURBULENT, to be sure, and Emma's emotions be pretty free-wheeling. Anxiety, yes; embarrassment, sure; folly, much; boredom, chronic. But comes out right in end in what Terry Castle calls most humane and joyful of (1) According to Lionel Trilling, Austen's novel an idyllic vision of nation, situated in a community in which are no bad people, with a heroine who, for her faults, directed to a very engaging end, a very right purpose. (2) In finding a hope in Trilling in line with Stuart Tave, for whom novel finally confirms and presages what Austen's narrator calls a union of happiness. (3) As Alistair Duckworth says, novel a comedy of errors that succeeds in achieving, in end, a positive vision of society. (4) Harriet returns to her destined spouse, Eltons find satisfaction in one another, Jane and Frank come into open, and Emma discovers her true feelings and makes good on them. At that point, roughly a hundred pages before novel's conclusion, says Patricia Meyer Spacks, boredom accept[ed] ... as a condition of women's experience and consequently disappears as an issue. (5) Austen, says William Deresiewicz, rewrites marriage as friendship to arrive at a moment of Wordsworthian democratic social sympathy. (6) And any shortcomings remaining in characters, according to Wayne Booth, are made up by narrator, who can give us clarity without oversimplification, sympathy and romance without sentimentality, and biting irony without cynicism. (7) Emma, says John Wiltshire, is an optimistic book; its style, which its heroine's style, youthful, confident, presumptive, witty, dogmatic, commanding, assured, except on rare occasions when the voice of an older, sadder woman such as Mrs. Weston takes over. (8) Without flaws there could be no story, but outcome a successful learning experience. Austen's heroines, says Spacks in another book, all have or develop self-command, self-knowledge, consideration of others, right principle which converts politeness to an expression of feeling rather than duty. (9) More recently, Mona Scheuermann focuses on doing right with no separate consideration of right feeling, arriving at this heartwarming conclusion: charm of Austen's novel, of her fictional world, that moral code so warmly encompassing. Just as her characters do, we feel safe in Emma's world. (10) In The Way of World Franco Moretti calls such an outcome the magic moment of 'improvement,' ideally exemplified in Pride and Prejudice. Still, in his eyes, synthesis too perfect and begins to fall apart already in Mansfield Park. (11) Where does that leave Emma? It comes down to how we weigh factors in this longest and weightiest of Austen's novels. What are follies or blunders, what are character flaws? What pertains to individuals, what to environment? And how fundamental are changes wrought by time and experience? Are we given whole truth about any of these matters? Do novel's deepest concerns He with what its narrator reports, or with what D. A. Miller calls nonnarratable? (12) Many contemporary readings concern numerous back stories and maneuverings that narrative appears to conceal. Is Knightley as courtly as his depiction, or he a cold fish? What standards do Jane Fairfax and Frank Churchill measure up to? How charitable or selfish Emma's treatment of Harriet? I have not found a critic who has posed really simple question that will be my subject: Would you like to five in Emma's surroundings, in a village called Highbury? (13) Instead of these inquiries into values, symbolisms, hidden motives, and adaptations, instead of asking about characters and their dynamics, I suggest beginning with their milieu. How much improvement possible in Hartfield and Donwell? …