Ian McEwan - On Chesil Beach (2007)

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.

Pride & Prejudice - Jane Austen

Plot Summary:
The story focuses on the Bennet family and in particular the headstrong second sister Elizabeth. Elizabeth's character defies the usual domestic and docile heroine as she rebels against society's prejudice. However, in doing so she captures the attention of the seemingly proud and stubborn Mr Darcy, filthy rich Colin Firth lookalike, who is a prime example of appearances being deceptive. Whilst the Bennet family disgrace themselves, Lydia running off with Wickham, and then redeem themselves through the marriage of Jane and Mr Bingley public opinion is defied, with love surpassing wealth and social standing. The story explores the conventions of marriage, social etiquette, social prejudice and the real value of money in the early 19th century.

Elizabeth - The central character, initially described as "tolerable" in looks by Darcy, her stubborn and yet curious personality attracts. Indeed she is a refreshing presence in the social circles of the upper class, as the likes of Miss Bingley merely appease and swoon over Darcy never showing an alternate opinion or any values but of wealth and status. She completely rejects all conventions, dismissing Mr Collins' proposal, speaking her mind openly and having the balls to answer her father back when she believes a wrong decision is being made. She thus completely differs from the rest of her sisters who aspire to the usual conventions of a "good match" in marriage. Arguably, Elizabeth is a personification of the Romantic Era, portraying the differences in social class, the reality of the countryside and ironically gaining the best marriage from being herself.

Mr Darcy - A man of great wealth and status, enters the plot alongside Mr Bingley, whom he has great influence over. Though initially portrayed as the villain it becomes clear that he actually is one of the most loving characters; obsessed with Elizabeth, not wishing his friend to be hurt by Jane whom he believed "indifferent" and particularly protective over his sister Miss Darcy whom was under the spell of Wickham. Darcy prevents the Bennet family from scandal, unbeknown to Mrs Bennet who insists on hating him, as well as providing great financial aid to the "inferior" family estate. He is particularly courtly and proper in his manner of love, remaining formal but with moments of passionate rhetoric that show his education and upbringing are not enough to mask his emotions at certain points.

Types of Love Shown:
- Familial Love of the Bennet Family, particularly between Jane & Elizabeth
- Selfless Love in the actions of Mr Darcy that were all for Elizabeth
- Unrequited Love in the proposal of Mr Collins and also the sentiment felt by the jealous Miss Bingley whom loves Darcy.
- Romantic Love

Quotations:
"But no sooner had he made it clear to himself and his friends that she hardly had a good feature in her face, than he began to find it was rendered uncommonly intelligent by the beautiful expression of her dark eyes." (Darcy about Elizabeth)
"Could she have seen half as much love in Mr. Darcy for herself, she would have ordered her wedding clothes. But the case is this: We are not rich enough or grand enough for them […]" (Elizabeth to Jane)
"Miss Lucas, who accepted him solely from the pure and disinterested desire of an establishment, cared not how soon that establishment were gained."
"In vain I have struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you." (Darcy to Elizabeth = Love is all conquering! However, note his formal manner)
"My reasons for marrying are, first, that I think it a right thing for every clergyman in easy circumstances (like myself) to set the example of matrimony in his parish; secondly, that I am convinced that it will add very greatly to my happiness; and thirdly--which perhaps I ought to have mentioned earlier, that it is the particular advice and recommendation of the very noble lady whom I have the honour of calling patroness." (Collins gives his REASONS for marrying quite as if a list, shows that in this time marriage was for money and status)
"But if a woman is partial to a man, and does not endeavour to conceal it, he must find it out." (Presents love and courting as a game of tactics)

Different Types of Love...

Love is an emotion of strong affection and personal attachment.[1] In philosophical context, love is a virtue representing all of human kindness, compassion, and affection. Love is central to many religions, as in the Christian phrase, "God is love" or Agape in the Canonical gospels.[2] Love may also be described as actions towards others (or oneself) based on compassion.[3] Or as actions towards others based on affection.[3]

In English, the word love can refer to a variety of different feelings, states, and attitudes, ranging from generic pleasure ("I loved that meal") to intense interpersonal attraction ("I love my partner"). "Love" can also refer specifically to the passionate desire and intimacy of romantic love, to the sexual love of eros (cf. Greek words for love), to the emotional closeness of familial love, or to the platonic love that defines friendship,[4] to the profound oneness or devotion of religious love. [5] This diversity of uses and meanings, combined with the complexity of the feelings involved, makes love unusually difficult to consistently define, even compared to other emotional states.

Taken from Wikipedia

Courtly Love
Courtly love is that which seems abundant in typical fairytales of princes and princesses. It originates from the middle ages and is a French concept that was brought over to the English courts in the 1300s and is based on the idea of gallantry and chivalry. The TROUBADOURS were its founders, types of medieval musicians that rose up the ranks to become the elite - bringing with them poetry and lyricality. The troubadours wrote poetry and ballads, publicising courtly love - the most famous of which highlighted in Geoffrey Chaucer's Canterbury Tales. Because of the troubadours courtly love remained fairly exclusive to the upper classes, i.e. royalty and knights, and thus was littered with fundamental rules, or the CODE of chivalry. For example;

Marriage is no real excuse for not loving.
The easy attainment of love makes it of little value.
Every lover should regularly turn pale in the presence of their beloved.
A new love puts to flight an old one.

Indeed such rules showcase how playing the game of courtly love caused many problems within courtly circles.

Literature: Chaucer "The Miller's Tale"
Jane Austen "Pride & Prejudice"

Romantic Love
This type of love is the most obvious form of love, the attraction between two people being built upon to form deep emotional attachment. Romantic love promotes the act of reproduction and uses the elements of lust and desire in the initial stages in order to do so. Whilst lust is not love in itself the two can go hand in hand. For example, boy meets girl, immediate attraction, this attraction develeops into lust, boy and girl have babies, boy and girl committed = job done.

Literature: ALL

Familial Love
The love one shares subconciously for their family is familial love, an attachment that bonds each member together. Unlike romantic love, familial love is unchanging and unconditional based on DNA and familiarity rather than hormones and attraction. Within this category is MATERNAL and SIBLING love, two equally powerful forms of love.

Literature: Louisa May Alcott "Little Women"
Jane Austen "Pride and Prejudice"
J.D Salinger "The Catcher in the Rye"
Tennessee Williams "Streetcar Named Desire"

ALSO SEVERELY CHALLENGED BY Martin Mcdonagh "The Beauty Queen of Leenane"

Platonic Love
The love one feels for friends is platonic love, one based on similar interests and a bond of familiarity and pleasure in each other's company. Arguably this type of love is not as strong as the familial or romantic loves but can still bind people together for life.

Literature: Louisa May Alcott "Little Women"
Lynne Reid Banks "The L Shaped Room"

Unrequited Love
Feelings of love that aren't returned are unrequited. This type of hopeless love is abundant throughout literature as the mega ouch moment that occurs after rejection often leaves people in feelings of desperation and depression. Often obsession and jealousy arise as the more tender loving feelings become exasberated.

Literature: Louisa May Alcott "Little Women"
Jane Austen "Pride and Prejudice"
Vladimir Nabokov "Lolita"
J.M Coetzee "Disgrace"

Religious Love
Religious love is based far less on emotions but more so on respect and a person's actions. For instance the AGAPE love taught by Jesus is in keeping with the commandment "Love thy neighbour". Whilst you can not love your neighbour in the same way you love your family, the idea is that you treat them in a way that promotes love and rejects sin or wrong-doing. People may also claim to love god or feel the love god has for his children, again the concept of love is far more vague and is based on acceptance, inclusion and worship. Applicable to other religions also.

Literature: Chinua Achebe "Things Fall Apart"
Louisa May Alcott "Little Women"

Little Women - Louisa May Alcott

Plot Summary:Based in early 20th century Massachusetts, USA. Meg, Jo, Beth and Amy are four sisters that, upon the departure of their father to the WW1 war effort, are left to embark on a journey of self-discovery and growth with their mother - Mrs March as guide. Indeed they epitomise this journey via their childhood game "Pilgrim's Progress" that maps out the hardships and challenges they must face. Each sister wishes to better herself according to the moral teachings of their mother and the more religious teachings of their father whom is a priest, the presence of the love of God is therefore abundant;

Meg - is the beauty of the family and she wished to rid herself of her vanity and become accustomed to work in order to provide a wholesome family home. Indeed she was obsessed with the maintenance of her hands, white and unblemished - a sign of wealth and sophistication, but sacrifices this for the good of the family. Mr March states "I remember a time when this hand was white and smooth...but is is prettier to me now- in these blemishes i read a little history". She experiences romantic love at the hands of Mr. Brooke and her story showcases the obstacles that marriage and motherhood offers. Her children Daisy & Demi personify the result of a loving and compassionate life and thus are particurlarly significant in showing the value of love as opposed to wealth.
Main Love = Romantic & Motherly

Jo- "I can't get over my disappointment in not being a boy", is the most masculine sister with a love of literature whom seeks a life away from love and into one whereby she can support her family, taking a particularly defensive role over the more timid Beth. Indeed in pursuit of this desire to wholly support the family she shaves off her hair and writes stories that undermine her natural ability and morals. So afraid of change she vows to stay by her mother and even declares she would prefer to remain a spinster. Her only flaw is a violent temper which she attempts to defy throughout. After the death of Beth however she becomes lonely and falls for Professor Bhear, an intellectual man who although not rich nor attractive provides Jo with the life she now desires, as mother. Her obvious comfort with the male sex leads to the creation of a school for young men- where she utilies her maternial instinct, formed by the bond with Lurie, to aid others in their journey to be educated and well mannered men.
Main Love = Familial, Romantic & Selfless

Beth- The shy and timid Beth delights in music and the comfort of her family, rarely venturing out or communicating with others. Her mother states that she can see no flaw in Beth whom is loyal, passive and says not a bad word of anyone. Indeed this natural kindness leads to Beth's downfall as after aiding the impoverished Hummel family she falls ill with Scarlet Fever and never recovers - growing more pale and transparent by the day until eventually her already weak body departs.
Main Love = Familial

Amy- The most ambitious of the sisters she, and also Meg, is the most aware of her family's poverty and wishes to better herself because of it in order to gain a life of wealth and culture. The most graceful and articulate she has a way of charming others and as she grows she moves away from her old childish snobbery and patronage into a lady that can hold her own in different social classes. Her journey to France adds the polish to her femininity and draws Lurie out from his heartache over Jo. Seeing that the two are far more suited and less attached in familial love they marry, ensuring Amy fulfills her desire of wealth- however not at the cost of true love. Motherhood also changes Amy's character as her daughter Beth follows in her aunts footsteps - frail and weak, the fear of losing her making Amy more tender and selfless.
Main Love = Familial, Motherly, Romantic, Jealousy

OTHER SHOWS OF LOVE:

Unrequited - While the sisters are the main focus one cannot ignore the character of Lurie and his importance within the novel. Indeed he acts as the brother of the family and is present within all of the main events in the novel. As the masculine sister, Jo immediately forms a deep connection with Lurie - their similarities proving the cement. However, over time Lurie wishes to progress the relationship further and is shot down by stubborn and determined Jo who remains to see him as only a brother. This is the first instance of UNREQUITED LOVE.

Conclusion: Little Women is therefore a great example of Victorian literature as it showcases the typical features; social and personal identity. Indeed the entire book is about the struggles the girls show in their personal growth and also the impact the contrast between upper class society and poverty had on such growth. By showing each character's experiences seperately as well as intertwined we get a great deal of depth in each character's psychology. Alcott provides an omniscient narrator whom seems aware of each character's thoughts and feelings. In some cases she also directly speaks to the reader, suggesting the book could be interpreted as an oral story or a lesson in morality and the importance of love over wealth.

Quotations:
" I’ll try and be what he loves to call me, “a little woman,” and not be rough and wild; but do my duty here instead of wanting to be somewhere else."

- Jo shows what the stereotypical role of women was in these times, a basically domestic position. She also portrays an element of selfless love as she wishes to please her father by going against her ambitions of adventure, hiding her personal struggles for the benefit of her family.

"Mercy me! I don't know anything about love and such nonsense!" cried Jo, with a funny mixture of interest and contempt. "In novels, the girls show it by starting and blushing, fainting away, growing thin, and acting like fools."

- Jo describes how uncertain she is about love whilst also highlighting the typically presented nature of falling in love i.e. blushing and giggling.

"He was perfectly open and honorable about Meg, for he told us he loved her, but would earn a comfortable home before he asked her to marry him. He only wanted our leave to love her and work for her, and the right to make her love him if he could"

- Referring to Mr Brooke, shows how marriage was based on financial security and that it was the man's job to provide and persuade his lover into marriage. The term honourable is synonymous with the nobility found in courtly love.

"My dear girls, I am ambitious for you, but not to have you make a dash in the world - marry rich men merely because they are rich, or have splendid houses, which are not homes because love is wanting. Money is a needful and precious thing - and, when well used, a noble thing - but I never want you to think it is the first or only prize to strive for. I'd rather see you poor man's wives, if you were happy, beloved, contented, then queens on thrones, without self-respect and peace."

-Marmee tries to instruct her girls to rebel against the typical "wise" marriage whereby financial security surpasses love. She is an example of how one can be happy as well as poor as long as love is abundant.