She did it to make us uncomfortable. If anything, this novel through a modern lense is an anti-romance.
Rebecca Study Guide
There is no love within these pages. Halfway through the movie, I find myself asking the same question I did over and over again while reading the book: Why on earth is she so in love with this condescending aromantic man? She was a paid companion to a rich woman, suddenly catapulted into a society she is completely alien to. Our narrator lacks even the smallest bit of confidence.
- Rebecca Study Guide | GradeSaver.
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The Rebecca in her mind grows and grows until she cannot imagine any flaw at all whatsoever. Flaws are what she finds in herself.
These ideas are reinforced again and again. As she struggles with this haunting by his ex-wife, Maxim abandons her to his own business. She is desperate to please him, but he is pleased only by her youth and her differences from Rebecca. The imagined ghost of Rebecca? Maybe our narrator is her own antagonist, fighting with herself to grow but not grow.
Take me to the other side of the ocean | Rebecca Horn | IMMA
And what of Mrs. She is at every turn a vessel through which Rebecca remains omnipresent. During the scene in the West Wing, Mrs. Here Rebecca is brought back to life in full, from her lush wardrobe, knick knacks and other mundane details. What did she wear? How did she comb her hair? Where did she store her underwear? Shortly after suffering through this degradation, our heroine finally finds some confidence to stand up to Mrs.
She then begs Maxim to let her throw a Masquerade Ball. This is a stark shift from the book, wherein Lady Crowan suggests the Ball. It occurred to me that perhaps I could not face it, that being shy, as he knew only too well, I should find myself unable to cope. I did not want him to think that. I did not want him to feel I should let him down.
This besieged sense of a realm seething with social hostilities and deep divisions, in which the very possibility of dialogue seems out of reach, may well strike a chord. In her powerful new translation, Emily Wilson, a classicist at the University of Pennsylvania, has chosen immediacy and naturalism over majestic formality.
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I was struck with wonder at how eerily of our time it is, this tale that emerged nearly 3, years ago. Is there a core of shared humanity he might arouse if he says exactly the right words—as he manages to do with the xenophobic Phaeacians, quelling their suspicions so that they invite him to tell his story and then offer him aid?
Or are there Others with whom stories cannot be shared—whose sympathies cannot be engaged, whose very being poses an existential threat? The sea itself, on which Odysseus and his men are forced to travel, is a treacherously alien element, even under the best of circumstances.
At first Polyphemus seems, in his pastoral way of life, sufficiently human—unlike, say, the ravenous six-headed monster Scylla or her man-slurping next-door neighbor, Charybdis—that Odysseus dares to approach the one-eyed giant as a fellow being. He and his men, Odysseus explains to Polyphemus, are not piratical outlaws but Greeks who fought victoriously under the glorious Agamemnon.
He ends on a note of supplication. Such wantonness untouched by pity could not be a starker expression of an unbridgeable gulf. But his erotic entanglement with these rare beauties never melts the frost of strangeness between them. And so we come to the most unsettling encounters Odysseus must navigate: with the familiar, the familial , Other. Even when a warrior returns to the bosom of his family, his safety is by no means assured. What looks like intimacy may turn into enmity. A foe may await in disguise, ready to attack when the most seasoned of soldiers is unarmed and unsuspecting.
Du Maurier was particularly entranced by Menabilly and often explored the grounds during her youth. Ironically, Du Maurier was able to use the proceeds from book sales to rent Menabilly in Du Maurier was also inspired by her own experiences in terms the primary conflict of the novel: the presence of the first wife.
Du Maurier struggled with jealousy and insecurity about Ricardo, especially after she discovered a several love letters that Ricardo had written to her husband. Considering these parallels, it is not difficult to hypothesize that Du Maurier viewed herself in the role of the nameless narrator in Rebecca. In both novels, an unassuming heroine falls in love with a sophisticated older man who is tormented by a terrible secret.
For Maxim, it is the guilt of murdering his first wife and the fear of her continuing presence at Manderley; for Mr. At the end of each work, the heroine achieves personal happiness, but only after the estate and thus, the lingering presence of the first wife is destroyed by fire. Although the novel was well received by the public, it received little consideration from critics, who perceived the work as an inconsequential, old-fashioned romance novel. It will be here today and gone tomorrow.