Plot Summary
Edward and Florence are married in 1962 July, straddling two eras where the conduct of sex and the roles of gender in marriage are still taboo but being questioned increasingly. On the night of their marriage both Edward and Florence are inwardly trying to cope with the anxiety and nervousness over the consummation of their relationship, leading to many missed signals and confusion. At the key moment disaster strikes and their marriage is effectively over, after they each blame each other they never meet again. The story repeatedly flashbacks to the beginnings of their relationship up until this night.
Historical Context
- 1950s = sex and contraception still taboo and the roles of women in marriage were somewhat rigid. Post-war era in Britain where women had begun to work, but still considered the subservient sex.
- 1960s = liberality of this era explored in the novel emphasised the struggles of the characters in their pursuit of love and how sex hindered such pursuits. Indeed during the latter end of the novel McEwan shows the speed and indlugence of the era, with loose women and sex becoming readily available, the taboo broken down.
Structure
- McEwan uses flashbacks to create a whole story, using the perspective of both Florence and Edward to highlight their differences, particularly in their gender's expectations of sex.
- By flicking between the two he creates a balanced image and allows the reader to understand both sides in a way that would not have been available at the time. He keeps the two to the same time frame, even discussing when the 2 stories may have overlapped.
- Whole story revolves around the wedding night but continuously flashes back until it reaches the present - showing how sex was at centre of both characters minds, it being the first exploration of sexual love.
- Past the wedding night it rapidly goes through the 60s (showing the speed of it arguably?)and remains in Edward's perspective. Gives traditional dominance to Edward, that which he yearned for with Florence, however he doesn't seem happy - rather showing the ease in which he let sexual relationships in particular fizzle and fade, leaving him aged and finally aware of the truth.
Edward
- Comes from a more modest middle class background than F, his father being an overworked school teacher who attempts to maintain a chaotic household with a brain damaged wife. This lack of a coherent feminine influence, his twin sisters being much younger, arguably is the reason behind his calamity of a wedding night as his misunderstanding of Flo's body language comes rooted from a lack of understanding of women altogether.
- There is a suggestion that he is in love with the idea of Florence but not her, herself. Indeed her priviledged background, the house and cars it brings along with the challenging intellect of her mother and the classical music she introduces him to opens his eyes to a whole other way of life of which he happily surrounded himself - accepting a job from her father as opposed to pursuing his true passions of history. Evidence for this comes from his repeated yearning for the "ideal" daughter, looking just as Flo does with an "alice band", representing all he loves about his partners' background and culture.
- his interest in history suggests he is always looking backwards, at the old views and opinions of the culture where sex is taboo and women are subservient, indeed his sexual inclinations towards Flo show his desire to possess her (the tongue scenario).
Florence
- Her background is typical of the upperclass "Oxford" esque stereotype, her mother a formidable lecturer in philosophy and her father a wealthy businessman, but who longs for a boy. Indeed this rigid stereotype, lack of sentimental family members and the need to express herself arguably leads her towards Edward (who comes from chaos) and the liberality of music, of which she blossoms.
- Her lack of interest in sex contrasts with Edward who is clearly thinking about it, rather she looks for a purity of love, not wanting to be possessed by anyone (modern view). On the wedding night it is clear she wants to please Edward because she knows what is expected of her, however this catalyses an internal reaction against the whole concept of sex and the ownership involved in regards to Edward and her body. Indeed, her control of her instrument shows her need for independence and personal authority. While she is caught between knowing what is expected of her and what she herself believes shows this straddling of the two eras and leads to the misunderstandings that cause the failure of the night.
Quotations
“This is how the entire course of a life can be changed: by doing nothing.” - Edward's lack of action cost him his life's happiness.
“All she had needed was the certainty of his love, and his reassurance that there was no hurry when a lifetime lay ahead of them.” - The rush into marriage (arguably led by sex and social convention) is mirrored by the sudden rush that occurs in the narrative after the event and shows how rushing things in life only leads to unhappiness.
“But it was too interesting, too new, too flattering, too deeply comforting to resist, it was a liberation to be in love and say so, and she could only let herself go deeper.” - Edward was an escape from her rigid life for her.
“It is shaming sometimes, how the body will not, or cannot, lie about emotions.” - Body language does not lie though words can, by misinterpreting the body you miss the truth.
“When they kissed she immediately felt his tongue, tensed and strong, pushing past her teeth, like some bully shouldering his way into a room. Entering her.” - Highlights Edward's possessive nature and his desire to own her in a bodily sense.
He was a country boy, a provincial idiot who thought a bare-knuckle swipe could impress a friend. It was a mortifying reappraisal. He was making one of the advances typical of early adulthood: the discovery that there were new values by which he preferred to be judged.” - Shows Edward's roughened character and physical desires. Also highlights how social expectations can ruin relationships.
Showing posts with label Lust and Desire. Show all posts
Showing posts with label Lust and Desire. Show all posts
Tuesday, 27 March 2012
Wednesday, 10 August 2011
The Picture of Dorian Gray - Oscar Wilde
Plot Summary:
"The Picture of Dorian Grey" uses the character of Mr Grey to optimise how sin and evil may influence and destroy a man's soul. There is a definite 'Faustian' theme with the wish of Dorian to preserve his external beauty and youthfulness, instead using the painting created by Basil as an outlet for his sins. As he becomes obsessed with the aesthetic throughout his life the picture decays and pays the price for his own misdealings. As a result of this obsession love also is cast away, with lust being used as a replacement; for example he believes himself in love with Sybil Vane and yet when she reveals her true self on stage, removing the mask formed from her acting, Dorian rejects her and causes her suicide. The purest love within the novel is the love Basil has for Dorian. He portrays this love through the painting he creates of Dorian, "I have put too much of myself in it" and "Shown in it the secret of my own soul". The preface written by Oscar Wilde for this novel highlights the key messages that the reader should consider; "All art is at one surface and symbol...those who go beneath the surface do so at their peril".
Dorian Grey:
Described initially as an "Adonis", a beautiful and youthful creature untouched by the corruption of society. However, once introduced to Lord Henry such beauty, encapsulated by Basil, becomes realised and Dorian sees only the external. Afraid of decaying from age and sin he exclaims that he wishes to expel all corruption from his life onto Basil's creation. This creation, as created from love, has captured the very soul of Dorian and thus when he eventually attempts to destroy it, he destroys his soul and dies while the picture returns to its original perfection. Towards the end of the novel Dorian attempts reformation as he realises what he has become, however this is out of vanity and so the picture remains corrupt.
Lord Henry:
Henry is the epitomy of a "bad influence". His opinions of life are promiscuous and leave little room for tender feeling and appreciation of inner beauty and true love, "His principles were out of date, but there was a good deal to be said for his prejudices." He preys on Dorian feeding him books and stories that entice him into corruption. One could easily compare him to the devil whilst Basil remains a good and yet unheard influence upon Dorian. He teaches Dorian of his own beauty and youthfulness and catalyses a life-long fear that this will decay.
Basil:
Oscar Wilde stated that "The artist is the creator of beautiful things" and thus why Dorian blames him for creating a taunting preservation of his own beauty that will remain untouched whilst he ages. This fear planted by Lord Henry thus grows to the point at which Dorian murders Basil, in anger and realisation of what his soul has now become. Basil's obsession with Dorian runs much deeper than his aesthetic, "He is necessary to me" and thus is the only presentation of true love within the story. It seems particularly poignant therefore that Dorian murders the only person who truly loved him. His fear of revealing the painting comes from his fear of revealing himself within it "My heart shall never be put under the microscope" as not only would homosexuality be illegal at this point but also the issue of unrequited love would undoubtedly arise.
Quotations:
"I had a strange feeling that fate had in store for me exquisite joys and sorrows" (Basil about Dorian)
"My heart shall never be put under the microscope"
"Sin is a thing that writes itself across a man's face, it cannot be concealed"
"If it was only the other way! If it was I who were to be always young, and the picture that were to grow old! For this--for this--I would give everything!" (Dorian's deal to the devil so to speak)
"Here is the first passionate love-letter I have ever written in my life. Strange, that my first passionate love-letter should have been addressed to a dead girl." (Dorian about Sybil Vane)
"People who love only once in their lives are ... shallow people. What they call their loyalty, and their fidelity, I call either the lethargy of custom or their lack of imagination." (Lord Henry's views on love)
"The Picture of Dorian Grey" uses the character of Mr Grey to optimise how sin and evil may influence and destroy a man's soul. There is a definite 'Faustian' theme with the wish of Dorian to preserve his external beauty and youthfulness, instead using the painting created by Basil as an outlet for his sins. As he becomes obsessed with the aesthetic throughout his life the picture decays and pays the price for his own misdealings. As a result of this obsession love also is cast away, with lust being used as a replacement; for example he believes himself in love with Sybil Vane and yet when she reveals her true self on stage, removing the mask formed from her acting, Dorian rejects her and causes her suicide. The purest love within the novel is the love Basil has for Dorian. He portrays this love through the painting he creates of Dorian, "I have put too much of myself in it" and "Shown in it the secret of my own soul". The preface written by Oscar Wilde for this novel highlights the key messages that the reader should consider; "All art is at one surface and symbol...those who go beneath the surface do so at their peril".
Dorian Grey:
Described initially as an "Adonis", a beautiful and youthful creature untouched by the corruption of society. However, once introduced to Lord Henry such beauty, encapsulated by Basil, becomes realised and Dorian sees only the external. Afraid of decaying from age and sin he exclaims that he wishes to expel all corruption from his life onto Basil's creation. This creation, as created from love, has captured the very soul of Dorian and thus when he eventually attempts to destroy it, he destroys his soul and dies while the picture returns to its original perfection. Towards the end of the novel Dorian attempts reformation as he realises what he has become, however this is out of vanity and so the picture remains corrupt.
Lord Henry:
Henry is the epitomy of a "bad influence". His opinions of life are promiscuous and leave little room for tender feeling and appreciation of inner beauty and true love, "His principles were out of date, but there was a good deal to be said for his prejudices." He preys on Dorian feeding him books and stories that entice him into corruption. One could easily compare him to the devil whilst Basil remains a good and yet unheard influence upon Dorian. He teaches Dorian of his own beauty and youthfulness and catalyses a life-long fear that this will decay.
Basil:
Oscar Wilde stated that "The artist is the creator of beautiful things" and thus why Dorian blames him for creating a taunting preservation of his own beauty that will remain untouched whilst he ages. This fear planted by Lord Henry thus grows to the point at which Dorian murders Basil, in anger and realisation of what his soul has now become. Basil's obsession with Dorian runs much deeper than his aesthetic, "He is necessary to me" and thus is the only presentation of true love within the story. It seems particularly poignant therefore that Dorian murders the only person who truly loved him. His fear of revealing the painting comes from his fear of revealing himself within it "My heart shall never be put under the microscope" as not only would homosexuality be illegal at this point but also the issue of unrequited love would undoubtedly arise.
Quotations:
"I had a strange feeling that fate had in store for me exquisite joys and sorrows" (Basil about Dorian)
"My heart shall never be put under the microscope"
"Sin is a thing that writes itself across a man's face, it cannot be concealed"
"If it was only the other way! If it was I who were to be always young, and the picture that were to grow old! For this--for this--I would give everything!" (Dorian's deal to the devil so to speak)
"Here is the first passionate love-letter I have ever written in my life. Strange, that my first passionate love-letter should have been addressed to a dead girl." (Dorian about Sybil Vane)
"People who love only once in their lives are ... shallow people. What they call their loyalty, and their fidelity, I call either the lethargy of custom or their lack of imagination." (Lord Henry's views on love)
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