The conflict between Adela, a young British girl, and Aziz, an Indian doctor, at the Marabar Caves is one that implements multiple modernist ideals and is placed in British-India. In this novel, Forster shows the relations and tension between the British and the Indians through a series of events that were all caused by the confusing effects of modernism. E.M. Forster implements such literary techniques to express the importance or insignificance of a situation and to emphasize an impression of realism and enigma in Chandrapore, India, in which Forster’s novel, A Passage to India, takes place. Forster has a tendency to suddenly switch narratives from one point of view to another, contrasting point of view. This emphasizes another modernist outlook that suggests that there is not only one truth and rather that there a... ... middle of paper ... ...e refuses to come… I say to Him, Come, and come, come, come, come, come.
Austen certainly realizes that not everyone notices their own pride and prejudice and that it was the problem in her story and her society. Word Count: 1180
Although the critics hold different interpretations of the novel, they all agree on the simple fact that deceit and deception both hold key roles within the story. This is not solely seen in characters like Heathcliff, but also in Emily Bronte herself in the way she presents the story. By neglecting to provide the reader with adequate explanations and conclusions of vital events in the story, the author deceives the reader into thinking that they can interpret the situations in their own way. Although it may seem that certain details are left out on purpose for the reader to fill in themselves, this is simply not the case. This is highlighted by J. Hillis Miller when he states: “This act of interpretation always leaves something over, something just at the edge of the circle of theoretical vision which that vision does not encompass.
Creating a person out of a place is a very difficult task to attempt, but in both the novel and the film A Passage to India, Forster and Lean went above and beyond accomplishing this feat. Forster did so through beautiful use of figurative language and descriptions, while Lean combined editing with fantastic music to create a similar effect. A Passage to India, while being a story of the lives of Englishmen and Indians, also is the story of India itself. Works Cited A Passage to India. Dir.
A Passage to India by E.M. Forster Upon a most rudimentary evaluation, A Passage to India is simply a story, a tale of two countries through which we follow a handful of central characters. As readers, we watch as these characters travel from England to India, into mosques and temples and through caves. We are given a window through which to view their interactions and whereabouts. It is undeniable that A Passage to India tells a story, however; to say that telling a story is all Forster does in A Passage to India seems to attenuate the accomplishment of his novel. The appeal of A Passage to India, the life of the novel, lies not in its story, but in the way Forster uses language to persuade readers to broaden their outlooks and to see that those who we may consider less intelligent or sophisticated than we, are, at heart, not so different, and the boundaries which we see as separating us are not as distinct as we would like to imagine.
Although Aziz reprimands her for not taking her shoes off in the temple before realizing she has in fact observed this rule, the two soon find that they have much in common and he escorts her back to the club. Back at the club, Mrs. Moore meets her companion, Adela Quested, who will likely marry her son. Adela complains that they have seen nothing of India, but rather English customs replicated abroad. Although a few persons make racist statements about Indians, Mr. Turton, the Collector, proposes having a Bridge Party (to bridge the gulf between east and west). When Mrs. Moore tells her son, Ronny, about Aziz, he reprimands her for associating with an Indian.
The contrast in the two comes from the different motives each has to separate themselves from the norm. Sue is self-centered in her “independence,” while Dorthea is an ardent spokeswoman for social reform and justice. Both women follow different paths, neither ending up at a position they once knew they would attain. Dorthea is depicted early in the novel as having an intimidating presence; however, at a dinner with the supposedly learned and intelligent Mr. Casaubon, she feels quite uneasy. He is an older man with an unattractive appearance which goes completely unnoticed to the “lovestruck” Dorthea.
Much of the time she fails to see things clearly and truly, and her self-knowledge is uncertain” (Goodheart)25. “One significant effect of harping on Emma's snobbery is to set in relief her romantic notions of Harriet's origin and destiny” (Brooke)26. Although to Harriet, Emma’s “help” to her is one that will reveal optimistic results and a proper husband, Harriet is incapable to taking up for herself against Emma, but if “[s]he would form her opinions... ... middle of paper ... ...ourth Edition (2010): 1-9. Literary Reference Center. Web.
During her time in Florida, there is a point when four of her tables fill up at once. When a customer from a table of British tourists complains, she states, “Princess Di refuses to eat her chicken strips with her pancake and sausage special since, as she now reveals, the strips were meant to be an appetizer.” (p. 47). She also refers to another table of customers as “yuppies” (p. 47). When making these stereotypical judgments of people, she puts herself on a pedestal, almost as if she disregards the fact that she may fall under the same category of those whom she is making the comments about. When she references the food at the location of second job she takes in Florida, she begins describing it with: “Picture a fat person’s hell, and I don’t mean a place with no food.” (p. 29).... ... middle of paper ... ... in her favor.
Dorris doesn’t provide the reader with the background information that is needed to understand why Aunt Ida comes off as a mean lady when reacting to being called grandma. So when the reader is only given this many details on the character, the reader immediately builds up his/her judgment on the identity of the character. Which in return leads one to a misunderstood interpretation of the character. In this instance, Dorris makes the reader believe that Aunt Ida is not necessarily innately good but innately bad. But it isn’t until the end of the novel that this identity of Aunt Ida which the reader has created, takes a twist and the truth is revealed.