Use Of Recurring Motifs In "Spies" By Michael Frayn
Discuss Frayn's use of recurring motifs in the novel "Spies" Motifs are Frayn's vehicles to help him discuss otherwise difficult messages. Throughout the book Frayn refers to objects that to the naked eye seem ordinary. Examples of these are the Privet, the Bayonet, and the Germs; these are the 3 major motifs that are referred to constantly in the book. All these are motifs that are vehicles in delivering a bigger message to the reader. The Privet, the focal point of the entire novel conveying within it are messages of adulthood, humour and childhood. The Bayonet, once again plays a core role in the novel, making reoccurring appearances highlighting the importance and great respect Stephen has for Keith's family and friendship. The Germs, less important but nonetheless still mentioned numerous times, refers to Stephens's inner self and subconscious mind that refuses to adapt and mature. We are first introduced to the Privet right at the start of the book. It triggers Stephen's memory and consequently the start of the entire story. Frayn describes the privet in a very peculiar manner, he uses a series of oxymoron's and contrasts to describe its "reek", this grabs the reader's attention, because the privet is a common plant and yet we begin to see and almost smell it in a different way. Frayn describes it as a "sweet reek" with "a sexual urgency", this hints to us that the
The author Michael Frayn has used many different devices in order to sustain the tension in the novel "Spies"
What devices does Michael Frayn employ to sustain the tension in the novel? The author Michael Frayn has used many different devices in order to sustain the tension in the novel "Spies", an example of some of these techniques are the settings, characters, themes and language techniques including powerful descriptive passages, use of tenses and the questions the reader finds themselves asking constantly throughout the novel. All these play a different part in sustaining the tension, and collectively all develop anticipation in the text. The language techniques that have been used play a crucial role in holding the suspense during the novel. In the very first chapter the reader can already find themselves asking questions about what will be happening later on in the novel, since they already begin to try and piece his memories and clues together to obtain the full story. From the beginning the reader is being pulled into the tale by Michael Frayn's techniques of only providing the audience with snip-it's of what's happening, keeping the tension, and constantly building it up. Short sentences are used throughout the novel to increase tension as they produce pauses in text, making the reader stop and slow down before they read the next part of the story, a prime example of this in the novel is where there is a man behind Stephen, but he does not want to turn around and look, "I
Spies by Michael Frayn. How does Frayn show Stephen's mental progression from childhood to adolescence? You should refer to language, form and structure in your answer.
How does Frayn show Stephen's mental progression from childhood to adolescence? You should refer to language, form and structure in your answer. Frayn uses language, structural change and symbolism throughout the events of the novel to exhibit Stephen's mental descent to adolescence. A theme that reveals itself in the first chapter is perception, and Stephen's perception of reality increases during the bildungsroman. The book begins with the elder Stephen, who is very open about his sensory stimulation in perceiving surroundings. For example: "sheltering the modest houses from the summer sun and making our famously good air fresh" exhibits Stephen being open and attentive of his surroundings, whereas younger Stephen is focused entirely on the notion that Mrs. Hayward is a spy. The extent is made clear by how Stephen links mathematical code into the mystery - "Excellent. So what is the value of x" ... "Into x, the unknown in the equation we have to solve." there is a clear distinction between the sensory states of the elder and younger forms of Stephen, with the former being more integrated to his surroundings, whereas the latter's perception twists simple mathematics into part of a greater puzzle. This is furthered by the opening line of the second chapter - "Everything is as it was" ... "and everything has changed" exhibits that while Stephen's surroundings have persevered,
How does Michael Frayn Establish a Sense of Uncertainty in the Early Stages of Spies?
How does Michael Frayn Establish a Sense of Uncertainty in the Early Stages of Spies? Like in any book, Frayn starts to set the scene in the opening stages of the book, and in this particular case, to do so he uses a sense of uncertainty. This uncertainty appears in many phases of the early stages. There is uncertainty in the time, is it past or present, there is uncertainty about memories, and there is definitely uncertainty about the people and their secrets. The book begins, and you can sense that uncertainty from the very beginning 'and there it is again: the same almost embarrassingly familiar breath of sweetness' Well as the reader we do not know what this scent is, and neither does the narrator, 'It comes from one of the gardens. Which one? I can never trace it. And what is it?' Immediately, as the reader you are drawn into this, the curiosity of what the smell it, why is it so familiar to him? This idea of the scent is then carried on in much more detail. It is described as 'something quite harsh and coarse. It reeks. It has a kind of sexual urgency to it. And it unsettles me' Again, even as the reader you are troubled by these images, these quite disturbing words make you wonder why does Frayn use them just to describe what was 'a familiar breath of sweetness' so, even in the first couple of paragraphs you are uncertain as to what is happening, what is about to
Describe How Frayn Presents Women In Spies
Describe how Frayn presents women in the text Those women who feature in Michael Frayn's 'Spies' are predominately presented to us through the eyes of the adolescent protagonist; Stephen, whose conflicting feelings relating to them are representative of his evolving maturity. His confusion is intensified by the fact that the women he encounters throughout the novel do not wholly conform to the social expectations one might assume of a 1940s wartime setting. We might also suppose that some degree of his ignorance toward the opposite sex is due to the lack of presence or least; acknowledgement, of his own mother whom he describes as 'so hopelessly ordinary'. Stefan ponders whether Stephen's dismissal of his own mother explains or even excuses his burgeoning adoration of Mrs Hayward, 'would he have perceived the grace and sincerity of Keith's mother quite so clearly if his own hadn't spent most of the day in a faded apron, sighing and anxious...?' Whilst it is clear from his initial references to the Hayward's that he considers them to be the quintessential family type, it is Mrs Hayward to whom he pays particular attention, his respectful appreciation soon developing into a lustful fixation. He dwells upon such details as her 'perfectly plucked eyebrows' and an impression is created of her as the alluring yet unattainable older female. This comes in stark contrast to the
How Effectively Does Frayn Use Barbara Berrill in 'Spies'?
How Effectively Does Frayn Use Barbara Berrill in 'Spies'? Michael Frayn uses the character of Barbara Berrill to a variety of purposes in the book 'Spies'. She is one of the key features to the themes of growing up and awakening views on adulthood and sexuality as well as providing Stephen with new evidence and theories as to what is going on, allowing us to see him interact with someone quite different from Keith, giving us perhaps a less biased and general view of occurrences in the close and also providing the book with some humour due to her blunt and matter-of-fact way of putting things and the way in which she acts as almost a bridge between the reader and Stephen, asking him the questions that perhaps we are asking ourselves. The obvious purpose of Barbara Berrill does seem to be her involvement in Stephen's blossoming understanding of the adult world. Being a year older than him, she is a little more perceptive of the things which haven't even really crossed Stephen's mind before, such as the possibility of parents having boyfriends and girlfriends. This is a good example of a time where Barbara clearly passes on some new ideas to Stephen, as although he is confused at first, the idea sticks with him throughout the book as he slowly begins to realise that Barbara is right. "'She's taking a message to Mrs. Tracey's boyfriend' Now I do turn to look at her, too
Explore the presentation of Keith & his importance in the novel Spies, by Michael Frayn.
Explore the presentation of Keith & his importance in the novel Spies, by Michael Frayn. This book follows two young boys in wartime Britain. The narrator, Stephen Wheatley, is flashing back to his childhood relationship with his neighbour Keith. Keith is the other main character in the book and plays a very significant role in many ways. Keith and his family are in a social class above Stephen and he is always painfully aware of how lucky he is to be able to interact with them. Because of this it is usually Keith that leads their playtime activities. Keith is always the instigator and inventor of their games and adventures. Stephen is content just to be the loyal sidekick. One adventure in particular, however, starts them down the path of no return. When Keith says "My mum is a German spy" Stephen valiantly follows with his servile attitude, here too, wherever Keith leads. Stephen says: "I have been granted a modest foothold of my own in the story, as the loyal squire and sword bearer that a hero requires" Stephen is passive and lets Keith walk all over him. Keith is always the leader and the dictator of what they do and is referred to as a commander. His essence of dominance is perhaps enhanced when on page 55 of the book he insights Stephen to make and oath with him. At the end of this oath he says "Allowed by me, Keith Hayward" Which emphasizes him as the leader, it
"Spies" By Michael Frayn - What is the function of the photographs in chapter 3?
What is the function of the photographs in chapter 3? During chapter three of "Spies", Keith and Stephen have ventured into the living room to try and gather evidence and information that Mrs Hayward, Keith's mother, is actually a German spy. This point in the story has introduced us introduced to many characters; including Auntie Dee, Uncle Peter and Mr and Mrs Hayward. Whilst in the living room, Stephen begins to look at some photographs placed around the room, and the description that the author, Michael Frayn, gives of these photographs act as an integral part of the story. We are given a small glimpse into the past of the lives of the four now adults, and the emphasise of their contrasting characters is also developed in this section. When Stephen begins to look at the photographs, the reader slowly develops the impression that these photographs are spying straight back at him, echoing the fact that the boys are spying on Mrs Hayward. It is described that one of the photos "gazes solemnly back" at Stephen and that "all four of them [Auntie Dee, Uncle Peter and Mr and Mrs Hayward] watch us out of the past as we work to penetrate the secrets of the present." The invasion of privacy by the boys is mirrored in the photographs, as it is obvious that Stephen feel the figures in the photos are invading their own privacy. Not only does this emphasise Stephen's uncomfortable
Spies. Describe the means Frayn uses to tell Stephen's story
Lucy Licence Describe the means Frayn uses to tell Stephens story The Second World War broke out in September 1939 under the direction of Adolf Hitler, the British mainland was never invaded, but was subject to bombings during the blitz. At the centre of this was ‘the Close’ in which two inquisitive boys sought understanding into the adult world, with terrifying consequences. This bildungsroman tells the story of protagonist Stephen, a painfully shy boy who is aware of what he considers his own social inferiority, and is in awe of his domineering friend Keith, through a variety of means, typical of modernism, about a summer in which six words “changed everything. As words do”. Frayn presents Spies in a conversational, informal style to tell Stephens story in which the sequence of the narrative is often interrupted with frequent and sometimes abrupt interjections and intrusions by the first person narrator. This is reflected in the way that the reader is invited to accompany Stephan down “Memory Lane”, particularly “Amnesia Avenue” in a way that he often talks directly to himself, rather than to the reading audience, as he struggles to remember what happened. Therefore his stream of consciousness is often presented instead of Frayn using meticulous prose “No wait. I’ve got that wrong”. The use of this conceit, in which Frayn is purposely giving the
How does Frayn present Stephen in the first four chapters of Spies?
Unit 1 the Modern Novel: Michael Frayn, Spies How does Frayn present Stephen in the first four chapters of Spies? Reading the four chapters, you can clearly understand how Michael Frayn is presenting both adult and child Stephen. In chapter one, Frayn presents the adult Stephen with an apparent good memory. This is also the same for chapter two, with adult Stephen looking back at his childhood. In a way this can also account for the child Stephen having a vivid imagination. You can also sense Stephen is vulnerable towards Keith, and how Stephen feels about their relationship. How can you tell which Stephen, child or adult, Frayn is trying to present throughout the four chapters? One point that needs to be seen in more depth is Stephen's vivid imagination as a child. Why did he believe Keith's confession about his mother, this shows he responded to it just like any other child would. "I can see all kinds of interesting new possibilities opening up, for hiding and watching in the gloaming, for wearing the moustaches and beards in Keith's disguising kit, for examining things through Keith's microscope." (p.37) This shows that Stephen is a typical child, who just wants to play games. Frayn's style of writing suggests that for Stephen and Keith, like many children of that age, the games are 'real'. So when Keith tells Stephen about his mother being a German Spy, they see it as a
