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Analysis of Rebecca by Daphne
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Maxim de Winter
‘Maxim de Winter is both attractive and forbidding, and open book and a mystery’
In Daphne Du Maurier’s book, ‘Rebecca’, She uses contrasting features in her characters to emphasise their characteristics.An example of this is one of the main characters, Maxim de Winter. Maxim is portrayed as both attractive and forbidding, but also a mystery and an open book.In this essay I would like to explore how true this is throughout the chapters two to six, and come to a conclusion on if he is either attractive or forbidding, and wither he is a mystery or an open book.
Maxim is first introduced by Mrs. Von Hopper in chapter two, “It’s Max de Winter”, she said “the man who owns Manderley. You’ve heard of it, of course.He looks ill ,
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doesn't he? They say he can't get over his wife’s death…”.This opening line about Maxim tells us two of the most important facts about him.The fact he owns Manderley and that his wife, Rebecca, died.These two facts dictate his life, as his home Manderley is his pride and joy and he dedicates most of his life to running and maintaining the household.The death of his wife also plays a big part in his life, as it seems that thoughts of his late wife haunt him in a way and stops him from moving on. Not much is said about his appearance when first introduced by Mrs. Von Hopper, except for the comment that he looks ill, which Mrs. Von Hopper pins as to being because of his wife’s death.This opening statement already gives us an idea of Maxim de Winter, as it makes him seem an open book.Two personal facts are known to Mrs. Von Hopper, although she doesn't personally know him, giving us the impression that his life is that of an open book. Not much about him at this point is a mystery. The next time he is introduced was by the narrator. As the story progresses, Daphne du Maurier begins to portray Maxim as an ‘open book’ and a ‘mystery’. An example of Maxim appearing as an open book was when the narrator stated “i can tell by the way he will look…”.
This gives us the impression that his emotions can be read from his face, and that because of this no secret can be left untold. The narrator knows him so well that she can tell just by his facial expressions what he is thinking or feeling, showing that Maxim is an open book, as his face can be read just as well as a book could. This also means that perhaps even strangers who do not know him as well, can read his face for emotions.
Another example of this is when the narrator said, “we have no secrets from one another”. This again gives us the impression that to the narrator knows everything that there is to know about Maxim, and that there is almost no stone left unturned in his life. This could also mean that he is very lenient with sharing his secrets, as at this point in the novel we do not know the relationship between the narrator and Maxim. This could indicate that he is an open book, as he will share his secrets with anyone who is willing to
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listen. After his formal introduction by Mrs.
Von Hopper, the first time the narrator and him properly talk is the next day in the restaurant.This was after the narrator spilt water on her table cloth and he invited her to dine with him.After a while of her sharing her past with him, he opens up about some of his family.He said “oh. I've got a sister, though we don't see much of each other, and an ancient grandmother whom i pay duty visits to three times a year, but neither of them make for companionship”. Although he has only know the narrator for one day and this is the only time they have properly spoken, he believes to know her enough to share information about himself with her. This shows us that he shares information with people whom he doesn't know very well and that he is an open book of sorts.
On the same day he takes her for a drive, where he opens up about himself again. ”suddenly he began to talk about Manderley”, the word “suddenly’ in this quotation gives us the impression that the narrator didn't have to prompt this information out of him,and he chose freely to tell her about where he lives.How he suddenly began telling her, again gives us the feeling that he is an open book, even to acquaintances of only a few
days. Maxim opens up about manderley and his past again, not long after his first outburst about Manderley. After a while about just talking about his house, he begins to talk about specifics. “His sister, who was a hard, rather practical woman, used to complain there was too many scents at manderley, they made her drunk”, here he opens up about a memory he has of his sister.He goes on further to say “he did not care.It was the only form of intoxication that appealed to him”.This is a rather personal bit of information which he had just shared, although he doesn't know the narrator all that well. He talks to her about a form of intoxication he enjoys, which is something you wouldn't just talk about in conversation.This suggests to us that he is an open book to things, which are personal to others, but may be something he shares with everyone to him.
In the passage, Martin, the author, Nick C. Vaca, writes about the time him and his friends had a confrontation with the new neighborhood boy, Martin. Through describing what happened before, during, and after the engagement he provides insight on what he learned from this experience. This experience left Vaca with a long-lasting impact and taught him how you shouldn't make assumptions about someone before you know them.
The way perspectives of composers and the cultural paradigms that they are influenced by are of a peculiar and often hidden nature. Through thorough textual analysis, the possibility of revealing these cultural values is enhanced, allowing the observation and appreciation of the how different ways of thinking have developed over time. Cultural values that deal with topics of gender inequalities, racial and social status prejudices and the result of societal dynamic are often hidden in texts from the Victorian Era, and this is absolutely true of Vanity Fair by William Thackeray as well as Virginia Woolf’s A Room of One’s Own. The two texts hold many areas of diversification and commonality which provide a basis of characters and their ways of thinking, in turn exposing attitudes towards certain cultural values.
Daphne Du Maurier's Rebecca Rebecca has been described as the first major gothic romance of the 20th century; Mrs. Danvers’ character is one of the few Gothic interests within the novel. Her unnatural appearance and multi-faceted relationship with Rebecca provides scope for manifold interpretations and critical views. Furthermore, Mrs. Danvers connection with Rebecca and Manderlay is a sub-plot in itself, making Mrs. Danvers the most subtly exciting character in the novel.
in the book, that he is a good natured old gossip. He is a useful
We simultaneously believe, however, that society is disinterested in an individual’s story. One outcome of this dilemma is that public knowledge can only be built from “something real, some firm ground for action that would lead…onto the plane of history…” (507). In other words, the stories that are remembered are concrete. Individual’s stories are filled with uncertainty and emotions that continuously evolve. Society is too careless to comprehend this complexity. This leads to the other outcome, the narrator suggested, being our inability to understand one another. Our distinct experiences are critical elements in shaping our way of being; yet, they are unknown and figuratively we are
Stillinger, Jack, Deidre Lynch, Stephen Greenblatt, and M H. Abrams. The Norton Anthology of English Literature: Volume D. New York, N.Y: W.W. Norton & Co, 2006. Print.
Diamant’s magic enables a romance to flower from violence and the formulation of a “voiceless cipher” into an ingenious being transpire (1). She forces the reader see that in the eyes of trial and tragedy, happiness and love, we find reflections of ourselves no matter the age gap. She emphasizes that such a task could not happen if not for the “scolding, teaching, cherishing, giving, and cursing one with different fears (2),” that “summon up the innumerable smiles, tears, sighs and dreams of human life” (321). All this, Diament reminds all females, can be sequestered in the red tent.
...hers might say. He tells our narrator, “The most important thing in the world is knowing the truth.” He goes on to remark, “The whole truth and nothing but the truth” (Mahfouz, 69). In this story, the Truth had a positive affect on the character. It gave him a new sort of freedom. He had gained a new sense of identity because of his new knowledge, and this evoked a sense of happiness in him.
other piece of information could provide insight into his mind. The book is divided into
author also uses allegory to send a message that first impressions may not be what it seems. Joe
Women in The Count of Monte Cristo possess unique personalities, but intensely similar restrictions. Currently, women in the United States, as well as other countries, are able to have jobs, travel, and participate in many other activities that the ladies Dumas portrays are not allowed to. Feminist analysis of this book reveals the ways of the time and the delicate balance of society’s typical structure. In The Count of Monte Cristo, Alexandre Dumas realistically conveys that when women violate their traditional roles, the balance of life is disrupted. This is evident through descriptions of instances in which females are in the home as well as when they are not.
It is the aim of this piece to consider how two elements are developed in the opening chapters of three classic novels written by 19th century English women: Emma, Wuthering Heights, and Jane Eyre, respectively. The elements to be considered are a) character; and b) character relationships. Consideration will be given to see how each opening chapter develops these two aspects, and the various approaches will be compared and contrasted as well.
In the book, Rebecca by Daphne Du Maurier, there exist a big emphasis on social class and position during the time of this story. When we are introduced to the main character of the story, the narrator, we are right away exposed to a society in which different privileges are bestowed upon various groups. Social place, along with the ever present factor of power and money are evident throughout the story to show how lower to middle class groups were treated and mislead by people on a higher level in society. When we are introduced to the narrator, we are told that she is traveling with an old American woman; vulgar, gossipy, and wealthy, Mrs. Van Hopper travels across Europe, but her travels are lonely and require an employee that gives her warm company. This simple companion (the narrator) is shy and self-conscious, and comes from a lower-middle class background which sets up perfect for a rich man to sweep her off her feet. The narrator faced difficulties adapting to first, the Monte Carlo aristocratic environment, and second, to her new found position as Mrs. De Winter, the new found mistress of Manderley.
It is easy to accept one character’s version of reality as true and Woolf periodically warns us, through the confusion of her characters...
Though Wilde wrote in the preface to this book that " To reveal art and conceal the artist is art's aim", we can still trace the shadow of the author himself in all of the three major characters.