Compare how the themes of nature and landscape are used and presented in 'A Room With A View' and 'The Remains of the Day'.

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PAULINE POPLE

Compare how the themes of nature and landscape are used and presented in ‘A Room With A View’ and ‘The Remains of the Day’

‘A Room with a View’ and ‘The Remains of the Day’  are two novels which involve journeys of physical and spiritual discovery.  The main characters of the stories are dissimilar in gender, age and social status but both experience situations and encounters which challenge their perspectives and personal values.  The authors of these books have both included references to nature and landscape to emphasize, mirror and reinforce the reactions and emotions of their characters.  They have also used nature and landscape to highlight key events.

‘A Room with a View’ was written in 1908 and the opening chapters are set in Florence, Italy, a vibrant country, where the high temperatures and natural beauty can stir the emotions.  Lucy Honeychurch, chaperoned by her spinster cousin, Charlotte Bartlett, is on a grand tour,  and struggles to understand the unfamiliar emotions which are stirring within her.  ‘Lucy’s rebellious thoughts swept out in words – for the first time in her life.’   Suppressed emotions are released and she discovers a maturity, independence and strength of character which allow her to analyse and perceive individuals in a new light.  She has the audacity to challenge Mr Eager, who finds it ‘intolerable that she should disbelieve him.’

Lucy and Charlotte face initial disappointment with the views from their rooms.  They had been promised ‘south rooms with a view’ but had north rooms overlooking a courtyard.  This dull, uninteresting outlook reflects Lucy’s upbringing in rural England, where she has restricted freedom and a limited stimulation in a climate inclined to be damp and cloudy.  This contrasts with her expectations for the holiday where the promised rooms would have looked over the Arno, the river that flows through Florence.   Eventually both ladies have their rooms with views and Lucy throws open her windows and admires the lights dancing over the Arno, in sharp contrast to the cypresses and Apennines, black against the rising room. This is like a metaphoric opening of Lucy’s eyes and mind in preparation for the adventures  which await her.  In addition, this black and white vignette is a romantic, idyllic view of the Arno and is in contrast with the brightly coloured, sunlit scene of the following morning, which is full of life, movement and noise, as the Italians go about their daily routines and Lucy views the reality which is about to alter her world for ever.

By comparison, ‘The Remains of the Day’ is set in the rolling countryside of England between the two Wars.  Stevens is the old butler at Darlington Hall and he has lived his life in service, metaphorically confined within large, country houses.  He has had a sheltered, privileged life, gaining his knowledge of England from employers, guests, staff and books, especially ‘The Wonder of England’ by Mrs Jane Symons.  His  present employer, Mr Farraday, an American, observes that ‘you’re always locked up in these big houses’ and encourages Stevens to get out and see ‘this beautiful country of yours’.

Stevens begins his journey along routes which ‘surprised’  him due to their ‘familiarity’.  However, he soon experiences a ‘sense of unease mixed with exhilaration’ as the surroundings become unrecognizable.  This is similar to the familiar routines and environment in which Stevens has lived his life, providing security and confidence but now he is removed from them and faces new situations which cause discomfort but are also exciting and stimulating.  The road curves around the side of a hill and one side drops away steeply, obscured by trees and foliage.  There is a sense of alarm which is likened to ‘speeding off in totally the wrong direction into a wilderness.’  Again, this emphasizes that Stevens is leaving behind his old established world of order and predictability and exchanging it for the unknown and unexplored.  He only has a map to guide him but has no idea what is around the corner and he has to take risks, maybe losing his way altogether or falling over the edge.  This accentuates the risks that he faces as he delves deep into his past and explores suppressed emotions and long held opinions, all of which can be very painful experiences.  There are no familiar landmarks to guide him and he has to trust his own ability and judgment to make the right decisions.

The first time Stevens stops, he is directed to a spot where ‘you won’t get a better view anywhere in the whole of England.’  The path is ‘steep and rather rough’ and it is quite a ‘strenuous walk’ but Stevens climbs up the                  path which ‘zig-zags’ up to a small clearing.  He is rewarded with a magnificent view over miles of rolling countryside that is gentle and indistinct, peaceful and void of people by contrast to Lucy’s first proper view out of her window.  Stevens is elevated and invigorated by the undisturbed view.  He acknowledges a change in attitude and ‘for the first time’ is able to adopt a ‘frame of mind appropriate for the journey.’  He becomes more positive and prepared for the challenges ahead of him, just as his present drive has been daunting and uphill but the reward well worth it, he has been encouraged by his experience.

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Stevens’ first real view of England has been very broad and undefined, with very little detail and the villages and inhabitants of the landscape hidden by the folds of the hills.  However, as he travels deeper into the view, his perspective alters and he gains a closer and much sharper focus.  He encounters people and different opinions and life becomes more defined and contenscious.  The pervading sense of mystery, shrouding the landscape is gently stripped away, revealing its true colours and secrets, similarly the hidden character and feelings of Stevens are exposed.

In ‘A Room with a View’ ...

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