This paper would endeavor to show that the role played by George in the transformation of Lucy (which is the novel's central action) is rather passive and mostly have a symbolic bent; that the actual active agents of Lucy's transformation lie elsewhere and is distribute evenly among various other agencies; and that the symbolism that George is endowed with by the author stands in the way of his realization as a living breathing human being.
To begin with, throughout the novel, we find Mr. Emerson (George's father) functioning as the mouthpiece for his son. Thus the words and the initiatives that should have come from George for him to become a truly dynamic character and a justifiable symbol of the 'naturalism' that Forster upholds, comes not from him but from the mouth of Mr. Emerson. The original offer of 'a room with a view' that begins the novels dramatic as well as the symbolic action, for instance, is tendered towards Lucy Honeychurch and her elderly chaperone Miss Bartlett, not by George, but by Mr. Emerson. And interestingly with this begins Lucy's initiation into naturalness and spontaneity against conventions and genteel propriety as symbolized by the typical English residents and the cockney run pension in Italy. Lucy's second step towards enlightenment also happens at the behest of Mr. Emerson. At the Church, when Lucy shocked at Mr. Emerson's frank approach refuses his invitation of joining their tour, his repartee "underlines the thematic contrast between naturalness and convention" which happens to be the central premise of the novel:
'My dear,' said the old man gently, 'I think that you are repeating what you have heard older people say. You are pretending to be touchy; but you are not really. Stop being so tiresome, and tell me instead what part of the church you want to see.'
In fact Lucy's first introduction to the mysterious and melancholic George takes place through the agency of Mr. Emerson and it is through the old man's eyes that our heroine first sees George. He attempts to explain his son saying that George's trouble is that he is distressed that the "things of the universedon't fit". However, most important of all is perhaps, Mr. Emerson's direct appeal to Lucy to understand his son and not get confused by conventional viewpoints:
' "Let yourself go. Pull out from the depths those thoughts that you do not understand, and spread them out in the sunlight and know the meaning of them. By understanding George you may learn to understand yourself."
Here, in a few words, Mr. Emerson has summed up the entire action of the novel as well as the role George is to play in it. His part is essentially passive. He is to be understood, his symbolic significance is to be realized and only through this Lucy would find her release from the stunting conventions of Edwardian England. The novel is for all intents and purposes about Lucy and traces her journey and growth to become a better and fuller human being. George is merely a passive subject understanding whom this transformation is brought about.
The symbolic intent of the author in presenting George has been clear from the very outset when, affixed to the wall in George
In the first version of the novel, George was an aesthetic prig; in the 'New Lucy' he was an ideal figure, a compound of noble peasant and Cambridge culture, killed off by his creator when he rode his bicycle into a tree in a storm; while in A Room with a View, he is a complex but negative figure, an imperfect product of his father's system of natural education, too passive to justify his final claim to Lucytoo weak to sustain his symbolic role as the embodiment of naturalism"
He is an affiliate of the outer party who works in the ministry of the truth. Winston starts to develop critical issues against the judgment dictatorship of the party. He buys a book that he uses as diary as no individual expression is allowed by the party.
The conclusion from this study states that Orwell’s 1984 functions as a compelling warning against giving into complete totalitarian control. Even while these satirical dimensions are perhaps the most relevant for modern-day political discourse, the novel also presents a meditation on our epistemological assumptions.
These complications become the guiding principles of specific desires among the races. He introduces Max Disher, the coffee-brown protagonist, and his friend Bunny Brown in a cabaret, the Honky Tonk Club in Harlem. They are there to celebrate New Year's eve, and it is at this juncture that Schuyler guardedly discloses the intricacies as regards race relations.
The story's plot follows the lives of four characters in a rural and pastoral community in 1799.
George Eliot illustrates several interesting themes in "Adam Bede". The theme of immature love between Hetty and Arthur is perhaps the most easily visible one.
Hawthorne uses symbolic names for the main characters, Faith and Goodman Brown, which attracts readers' attention at once. Hawthorne writes "And Faith, as the wife was aptly named, thrust her own pretty head into the street, letting the wind play with the pink ribbons of her cap while she called to Goodman Brown" (Hawthorne).
Her very first attempt, 'Adam Bede' proved to be a path-breaking novel in the Victorian age and was a huge success. George Eliot's personal life experiences are reflected in her novels. We come across various taboos laid down by the society at her time. She lived in a male dominated society and which is why she was forced to satisfy her desire of writing by acquiring a Pseudonym, which was again a male name "George Eliot".
Giving so much importance to race distracts us from what we really need to work on: becoming better human and humane beings.
"There were two worlds bursting inside me trying to get out. I had to find out more about who I was, and in order to find out who I was, I had to find out who my mother was" (McBride, 266).
The conclusion from this study states that in 1984, Orwell returned to topics he had treated in other works--imperialism, class, poverty, morality, freedom, and language--in the context of a drab future dystopia, a hopelessly wrong society, where the greatest heresy is the expression of common sense.
Discrimination is manifested in the character, the point of view, and the theme.
Her works include "the simple reminder that black men and women have formed an integral part of American history:" She says that her characters are epitomes of real people: "Look at them and remember them.
The play Pygmalion and the song, My Fair Lady may seem to be the same, but there are evident differences between the two. One of the noticeable changes is that there is a change of play type from drama to musical.
2 pages (500 words)Book Report/Review
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