Edward Morgan Forster and His Aspects of the Novel
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The Recognition of Passion in Selected Fiction of E. M. Forster
THE RECOGNITION OF PASSION IN SELECTED FICTION OF E. M. FORSTER by Joyce Nichols Submitted as an Honors Paper in the Department of English The University of North Carolina at Greensboro 1964 Approved by JV Vtr \ VVfl, i •*) r\ Director Examining Committee 1/0,-HSI ^V AdJ^y- A K-t'-fZr^.-T^ft—* ■** —/««g>*. One does not read E. M. Forster without becoming aware very quickly that Mr. Forster is probably England's most articulate and convincing champion of the passionate life. Passion to Mr. Forster has many faces; indeed it is a whole way of life. It is the purpose of this paper to define the many different aspects of this Forsterian passion and to observe its development or denial in several characters of his selected fiction. It is difficult, as I write about E. M. Forster, to believe that he is in his eighty-sixth year and that he has not published a novel in forty years. It is difficult to accept these biological and literary facts because, even today, p?r,s° works retain a freshness and vitality that many later works of English fiction lack. What then gives these qualities to his fiction, some of which was written more than 40 years ago? Partly, it is because Mr. F«riis concerned with universal themes but it is also because he has managed to communicate some of the wonder and idealism of the child in a jaded century. He invites us to climb through to the other side of the hedge1 and begin to live. He is essentially didactic in his writings but his didactism is gentle and becomes less insistent, more subtle and tentative by the time of A Passage to India. -
Virginia Woolf; the Art Historians Clive Bell and Roger Fry; and the Economist John Maynard Keynes
NEAR EAST UNIVERSITY FACULTY OF ARTS AND SCIENCE~~ DEPARTMENT OF ENGLISH .· ·/. , ,, .. , '~:· i l.._ 1 • . ; / ~ r:-, 11 .~ ~- LANGUAGE AND LITERATURE \·;:;>., - .. ,:. :'. \ · t.;"•r c..r''"' ' : ' '~~~/ A PASSAGE TO INDIA: "CRITICAL APPROACH" A Novel By E-M FORSTER UNDERGRADUATE THESIS • Prepared By : MURAT ILHAN •• SupervisedBy: Assoc.Prof.Dr.GUL CELKAN June,1998 T.R.N.C. TABLE OF CONTENTS * PREFACE * INTRODUCTION * E-M FOSTER'S LIFE * CHRONOLOGY OF FOSTER * WHAT IS THE SUBJECT OF THE PASSAGE? * WHAT THE TITLE IS ABOUT? * THE PLOT AND STRUCTURE * THEMES OF A PASSAGE TO INDIA * E-M FOSTER'S PORTRAYS MANY CHARACTERISTICS OF STYLE IN HIS NOVEL * THE CHARACTER OF Dr. AZiZ * CONCLUSION * BIBLIOGRAPHY PREFACE The English language and literature has always been attractive to my personality; because since I was a boy, I decided to educate myself in the area of the English language and to receive all the benefits it would give me. Therefore, I have chosen to study on one, of the greatest figures of the English literature, E-M Forster and, his best novel A Passage To India. I would like to give my special thanks to my chairperson, Associate Prof. Dr. Gill Celkan for her great help through my 4- year education in the department. Murat Illian, 1998 T.R.N.C. 2 INTRODUCTION A Passage To India is E-M Forster's most ambitious, and surely one of the classic modem English novels, a work both of modem chaos and aesthetic order. The echo in the Marabar caves levels all meaning to one declares "Everything exist; nothing has value". In which the j anus- face of the universe is visible, where its horror and smallness are simultaneously known, where "neither ignore nor respect unity". -
Kissing and Telling: Turning Round in a Room with a View Author(S): Jeffrey Heath Source: Twentieth Century Literature, Vol
Kissing and Telling: Turning Round in A Room with a View Author(s): Jeffrey Heath Source: Twentieth Century Literature, Vol. 40, No. 4 (Winter, 1994), pp. 393-433 Published by: Duke University Press Stable URL: http://www.jstor.org/stable/441598 Accessed: 06-06-2018 17:39 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Duke University Press is collaborating with JSTOR to digitize, preserve and extend access to Twentieth Century Literature This content downloaded from 150.210.231.20 on Wed, 06 Jun 2018 17:39:52 UTC All use subject to http://about.jstor.org/terms Kissing and Telling: Turning Round in A Room with a View JEFFREY HEATH Yesterday had been a muddle-... the kind of thing one could not write down easily on paper.... [Lucy] thought not so much of what had happened as of how she should describe it. ... But ... her words fell short of life. (A Room with a View 68, 94, 229) A Room with a View invites the same question that Charlotte Bartlett asks when she sees George Emerson's "enormous note of interroga- tion": "What does it mean?" (43). The reply might be that Forster's novel is "about" such matters as love, art, self-realization, Edwardian manners, feminism, values and their revision, exposure and conceal- ment, completion and interruption, daily life and celestial life, the subconscious mind, language, myth-and so on. -
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A Bloomsbury Chronology 1866 Roger Fry born 1877 Desmond Maccarthy born 1879 E.M. Forster born Vanessa Stephen born 1880 Lytton Strachey born Thoby Stephen born Saxon Sydney-Turner born Leonard Woolf born 1881 Clive Bell born 1882 Virginia Stephen born Mary Warre-Cornish born 1883 J.M. Keynes born Adrian Stephen born 1885 Duncan Grant born Roger Fry enters King's College, Cambridge 1888 Roger Fry obtains a First Class honours in natural sciences and decides to study painting xx A Bloomsbury Chronology 1892 Roger Fry studies painting in Paris David Garnett born 1893 Dora Carrington born 1894 Roger Fry gives university extension lectures at Cambridge mainly on Italian art Desmond Maccarthy enters Trinity College, Cambridge 1895 Death of Mrs Leslie Stephen Virginia Stephen's first breakdown 1896 Roger Fry and Helen Coombe married 1897 E.M. Forster enters King's College, Cambridge Desmond MacCarthy leaves Trinity College Virginia Stephen attends Greek and history classes at King's College, London 1899 Roger Fry: Giovanni Bellini Clive Bell, Thoby Stephen, Lytton Strachey, Saxon Sydney-Turner, Leonard Woolf all enter Trinity College, Cambridge The Midnight Society - a 'reading society' - founded at Trinity by Bell, Sydney-Turner, Stephen, and Woolf 1900 Roger Fry gives university extension lectures on art at Cambridge 1go1 Roger Fry becomes art critic for the Athenaeum Vanessa Stephen enters the Royal Academy Schools E.M. Forster leaves Cambridge, travels in Italy and Greece, begins A Room with a View 1902 Duncan Grant attends the Westminster Art School Leonard Woolf, Saxon Sydney-Turner, and Lytton Strachey elected to 'The A Bloomsbury Chronology XXI Apostles' (older members include Roger Fry, Desmond MacCarthy, E.M. -
The Symbolic Moment in the Fiction of E. M. Forster
RICE UNIVERSITY THE SYMBOLIC MOMENT IN THE FICTION OF E. M. FORSTER by BARBARA ANN HOAK *P60 06900 ZLZ L A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS Thesis Director*s signature: May# 1965 ABSTRACT This thesis is a study in the fiction of E. M* Forster of a principle which has been named the "symbolic moment•" The symbolic moment is defined as a short period of time which has the effect of removing character or reader from consciousness of the continual flu:: of mundane occurrences since it has the potential of revealing something universalt a kind of reality beyond the everyday human life processes. This thesis demonstrates that one way of seeing the struc¬ ture of Forster* s works is as a series of symbolic moments which are more vivid and more meaningful than everything happening between them, since they juxtapose levels of reality or meaning in incidents which often have archetypal reference. The thesis examines Forster’s ideas about the structure of the novel and concludes that the symbolic moment prin¬ ciple fits in with Forster’s conception of a novel as repre¬ sentation of human life, in which not all periods of time have equal significance when examined in retrospect. The symbolic moment characteristically takes the form of a confrontation—between two characters, or between a character and an object or event—which may bring about a revelation of reality if the character is prepared to accept it. The symbolic moment is examined as a focal point of structure and themes in two of Forster® s short stories: "The Eternal Moment" and "Tue Road from Colonus.” Forster’s novels are a series of symbolic moments, and in the early novels^“especially Khere Angels Fear to Tread and A Room with a View—‘Forster’& characters progress through them to some kind of growth in understanding which allows them to accept all sides of man* s good~and-evil nature. -
厦门大学博硕士论文摘要库论文答辩日期 2 0 0 1 年 6 月 学位授予单位 厦 门 大 学 学位授予日期 2 0 0 1 年 月
Introduction 学校编码 10384 分类号 密级 学 号 9804013 UDC 学 位 论 文 Only Connect: E. M. Forster’s Howards End 只 要 联 系 E. M.福斯特的 霍华德别业 肖 萍 指 导 教 师 张 礼 龙 副教授 厦门大学外文学院 申 请 学 位 硕 士 专 业 名 称 英语 语 言 文 学 论文提交日期 2 0 0 1 年 5 月 厦门大学博硕士论文摘要库论文答辩日期 2 0 0 1 年 6 月 学位授予单位 厦 门 大 学 学位授予日期 2 0 0 1 年 月 答辩委员会主席 评 阅 人 2001 年 5 月 1 Introduction Synopsis E. M. Forster (1879-1970) can be regarded as one of the most controversial writers of his time, and Howards End has always been the most controversial of his novels. Divergences of the criticism on the novel reside mainly in its ambivalence and ambiguity as a result of Forster’s “double vision,” and its happy, but unconvincing ending that seems to embody the ultimate and comprehensive “connection” of all those opposing forces Forster has discerned in modern society. The present thesis aims to reveal the connotation of the epigraphy “Only connect…” and Forster’s real intention to conceive such a happy ending whose “connection” is actually one-sided, so as to justify Forster’s “double vision.” The present thesis consists of six chapters, an “Introduction,” and a “Conclusion.” “Introduction” briefly traces the vicissitudes of Forster criticism and scholarship, then introduces the main points of controversy on Howards End: whether Forster’s “double vision” in Howards End is its strength or weakness, with Woolf on one side and Widdowson on the other. -
A Psychological Literary Critique from a Jungian Perspective of EM Forster's
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 12-2005 A Psychological Literary Critique from a Jungian Perspective of E. M. Forster's A Passage to India. David W. Elliott East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the English Language and Literature Commons Recommended Citation Elliott, David W., "A Psychological Literary Critique from a Jungian Perspective of E. M. Forster's A Passage to India." (2005). Electronic Theses and Dissertations. Paper 1069. https://dc.etsu.edu/etd/1069 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. A Psychological Literary Critique from a Jungian Perspective of E. M. Forster's A Passage to India ________________________ A thesis presented to the faculty of the Department of English East Tennessee State University In partial fulfillment of the requirements for the degree Master of Arts in English ________________________ by David W. Elliott December 2005 ________________________ Mark S. Holland, Chair Judith B. Slagle John D. Morefield Keywords: Forster, Jungian, Psychological, Passage, Quested, Moore ABSTRACT A Psychological Critique from a Jungian Perspective of E. M. Forster's A Passage to India by David W. Elliott This paper is a psychological reading of E. M. Forster's A Passage to India. It uses the psychological theories of C. -
MASUDA, Yukiko Aspects of Music
学習院大学 人文科学論集 27号(責了) P123 Aspects of Music: Aesthetic Perception in E. M. Forster’s “The Celestial Omnibus” and “Co-Ordination” MASUDA, Yukiko [Key words:①aesthetic perception ②Romantic musical aesthetics ③expressive capacity ④inherent meaning as truth ⑤autonomy] Introduction Benjamin Britten says in an article written for Forster’s ninetieth birthday (1969), “There is no doubt that E. M. Forster is our most musical novelist. And I don’t mean that he just likes music or likes going to concerts and operas, or plays the piano neatly and efficiently (all of which he does), but that he really understands music and uses music in his novels, and fairly frequently” (Arlott et al. 81). It is true that Forster had a very close relationship with music. A brief look at Forster’s musical life would lend support to the claim that he was a devoted lover of music.1) He also occasionally refers to music when he discusses literature and art in his Aspects of the Novel (1927) and essays written after his career as a novelist. In addition, he uses music in his novels. For instance, Where Angels Fear to Tread (1905) includes a performance of Lucia di Lammermoor, which discloses the Italian audiences’ attitude towards life; in the third chapter “Music, Violets and the Letter S” of A Room with a View (1908), the heroine’s performance of Beethoven’s Sonata Op. 111 suggests her temerity and inner passion. This essay will reveal another, more notable instance of Forster’s relationship with music; that is, Forster’s earlier short stories, “The 123 P124 学習院大学 人文科学論集 27号(責了) 学習院大学人文科学論集ⅩⅩⅦ(2018) Celestial Omnibus” (1908) and “Co-Ordination” (1912), are his early attempts to outline his aesthetic position with regard to music. -
Hope out of Nihilism: the Significance of Music and Silence in a Passage to India
論 文 Hope out of Nihilism: The Signifi cance of Music and Silence in A Passage to India DRYDEN Izumi 要 旨 二十世紀を代表するイギリスの小説家エドワード・モーガン・フォースター(通 称 E. M. フォースター)は,同時代同国の作曲家ベンジャミン・ブリテンに「音 楽作家」と呼ばれた。その理由は,フォースターが音楽愛好家であったことをは じめ,ベートヴェンの交響曲やワーグナーのオペラをはじめとした音楽作品から 音楽的要素や音楽的構造を理解して小説において意図的に使用しているからで ある。生存中に出版された小説五作品のうち,最後の小説『インドへの道』に おいては,ベートーヴェンの交響曲第九番の形式を発展させてオペラ形式を取り 入れようとしたと考えられる。小説ペンギン版の『インドへの道』の巻末に収録 されているフォースター作品の評論担当の批評家ピーター・バラは,『インドへの 道』の三部構造は交響曲の三楽章の構成に類似していると指摘している。一方で, ブリテンは,フォースターの小説の構成はオペラ的であると示唆している。小説『イ ンドへの道』は,ベートーヴェンの交響曲第五番の構造を持つフォースターの4 番目の小説『ハワーズ・エンド』とフォースターの晩年の作品であるオペラ『ビリー・ バッド』の中間に位置する。本論では,交響曲とオペラの両方の構造を併せ持 つと考えられる『インドへの道』に焦点を当て,単に音楽的音だけではなく,「多 様な声」をも作品に取り入れようと試みたフォースターの小説技巧に注目し,こ の作品を音楽的視点から再考していきたい。 Keywords: E. M. Forster: イギリスの小説家 E. M. フォースター,A Passage to India: 小説『インドへの道』,Musical elements: 音楽的要素, Musical structures: 音楽的構造,Beethoven: ベートーヴェン, Symphony: 交響曲,Wagner: ワーグナー,opera: オペラ,echoes: 洞窟のこだま,silence: 沈黙・静寂 ― 19 ― 愛知大学 言語と文化 No. 33 Introduction The twentieth-century British composer, Benjamin Britten (Edward Benjamin Britten, 1913-1976), described the twentieth-century British novelist E. M. Forster (Edward Morgan Forster, 1879-1970) as “our most musical author” (Borrello 144). Forster certainly was a “musical author” who used musical elements and forms to structure his literary works, particularly the fi ve novels published during his lifetime. Another twentieth-century British writer, Anthony Burgess (John Anthony Burgess Wilson, 1917-1993), who also used musical elements and forms in his works, judged Forster’s fi fth novel A Passage to India (1924) his “last and best” (The Novel Now 32). By contrast, Forster considered A Passage to India “a failure” (King 73). Forster’s negative assessment of this novel remains puzzling, considering that many of his friends regarded it highly, including the British novelist Virginia Woolf who praised A Passage to India by observing: “Now Mr Forster knows exactly how to use the elements of his genius” (Childs 52). -
Table of Contents
TABLE OF CONTENTS Publisher's Note ............................................................................................................................................................ v Absalom Absalom!—William Faulkner ....................................................................................................................... 1 Absalom and Achitophel—John Dryden ...................................................................................................................... 1 Adam Bede—George Eliot ........................................................................................................................................... 2 Adonais—Percy Bysshe Shelley ................................................................................................................................... 2 The Adventures of Augie March—Saul Bellow ............................................................................................................ 3 The Adventures of Huckleberry Finn—Mark Twain .................................................................................................... 3 The Adventures of Tom Sawyer—Mark Twain ............................................................................................................ 4 Aeneid—Vergil .............................................................................................................................................................. 4 The Age of Innocence—Edith Wharton ...................................................................................................................... -
Music in EM Forster's Howards
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by GLIM IR Institution Repository Music in E. M. Forster’s Howards End: Resistance to Totalitarianism and Aesthetic Totalisation YUKIKO MASUDA -1- -2- 1. Introduction Music was an integral part of E. M. Forster’s life as he says, “Music has meant an enormous amount to me” (qtd. in Fillion Rhythm 1) (1). As this essay will demonstrate, in his fourth published novel, Howards End (1910), music plays an essential role in resisting not only totalitarianism but also aesthetic totalisation that acts in the same way as the political system. As regards totalitarianism, in the final paragraph of “What I Believe” (1938), his most famous and frequently quoted essay, Forster writes, “The dictator-hero can grind down his citizens till they are all alike, but he cannot melt them into a single man.... He can order them to merge, he can incite them to mass-antics, but they are obliged to be born separately, and to die separately, and, owing to these unavoidable termini, will always be running off the totalitarian rails” (TC 73). Forster thus rejects the totalitarianism that controls or limits every aspect of individual life in order to create societal homogeneity. According to Hannah Arendt, twentieth-century totalitarianism had its ideological root in the “tribal nationalisms” of movements such as Pan-Germanism, where “people were either ‘ours’ or ‘not-ours’” (Gleason 111) (2). Side by side with a nation, which is thought of as a unified group of people with common cultural and ethnic characteristics attributed to them, a class society existed, where people were grouped into a set of hierarchical social categories (3). -
Department of English and American Studies English Language And
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Michal Křiklava Edwardian Society, Homosexuality, and E. M. Forster’s Short Stories Bachelor‘s Diploma Thesis Supervisor: doc. Michael Matthew Kaylor, PhD. 2015 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author‘s signature Acknowledgement I would like to thank to my supervisor for his unceasing support without which this paper would never have been written; to Mgr. Eva Hrkalová, who relentlessly answered all my questions; and, finally, to the Department of English and American Studies upon whose impulse this thesis was created. Table of Contents Introduction ................................................................................................ 5 Chapter I – The Edwardian/Victorian Homosexual England ............................. 7 I. I. London: Places and Practices .............................................................. 7 I. II. Stereotypes of Gayness .................................................................. 10 I. III. Private Public and Public Private ..................................................... 14 Chapter II – Literary Analysis ..................................................................... 17 II. I. ―The Life to Come‖ – Identity and Religion ....................................... 17 II. II. ―Dr Woolacott‖ – Fantasy and Passivity ........................................... 20