By Nigel Messenger
Forster's novels have consistently given nice excitement to the overall reader yet they do current specific difficulties when you desire to examine them in a extra systematic manner. The elusiveness of Forster's irony, the complexity of his symbolism and the formal ambiguities in constitution which are this type of marked characteristic in all his novels, make any research strangely tough. during this booklet, Nigel Messenger indicates you the way to set approximately this activity.
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Additional info for How to Study an E. M. Forster Novel
He must rescue his old friend. A feeling of heroism stole over him; and he began to wonder how Scudder could be silenced and whether he would prove extortionate. It was too late to discuss ways and means now, so he invited Maurice to dine with him the following week in his club up in town. A laugh answered. He had always liked his friend's laugh, and at such a moment the soft rumble of it reassured him: it suggested happiness and security. 'That's right,' he said, and went so far as to stretch his hand into a bush of laurels.
I've also been made aware of things I don't know enough about and need to follow up. I need to know more about the other Sawston visitors to Italy, not just Philip and Caroline, important though they are, but silly Lilia and the awful Harriet. Their experiences are also important- they add dimension and depth to the novel's theme. Philip, Caroline, Lilia, Harriet, they are all 'fools'- but they are not all fools in the same way. Then there is the whole social world of the novel: I could see from my synopsis of the plot that the novel is built around the contrast between two ways oflife and I need to explore this further.
Rather like the bothersome cat, Gino finally doesn't care whether his actions are socially acceptable or not. The narrator is once again omnisciently in control, entering into Philip's consciousness over the matter of the Pallone so that the bias of the narrative is certainly angled to his point of view, though much more appreciative of the humour in the situation than he can afford to be. But what are we to make of the intervention over the Dante quotation? It is not unlikely that Gino would seek to impress Philip with snippets from the classics learnt by rote, but clearly Forster has other intentions in mind.