REBECCA- EXPANDED QUOTES

Analysis on key quotes

VAN HOPPER- what brings you here? You’re not one of the regulars.

The use of the rhetorical question highlights the power and entitlement of the upper class, personified through Mrs Van Hopper and easily juxtaposes the narrator. the accusatory tone only reinforces this further, physically isolating the narrator form the circumstances.

VAN HOPPER- For a moment she looked annoyed- this was not what she had intended.

Overall, it highlights the power of the aristocracy, with the fractured language perhaps mirroring the crumbling class structures that were occurring in England in the 1930’s. The repeated use of the personal pronoun reinforces that as it appears to highlight her perceived power within this structure.

VAN HOPPER- Like a large complacent spider spun her wide net of tedium abut the strangers person

The simile of “the spider” highlights her dark nature, often seen as undesirable and an item that a large section of the population are actually afraid of. But, they are also powerful animals, which is continued with the personal pronoun of “her”, which dictates a level of power that she must wield, yet this is juxtaposed with the dismissive adjective choice of “tedium”.

MANDERLEY- and for a while i could not enter for the way was bared to me.

One of the very first lines in the book which thus makes it key. This sentence can however be interpreted in many ways, it could be that it has physically burnt down, class barriers, age barriers or simply that the narrator is asleep. Nonetheless. the verb of “barred” is incredibly harsh but this is juxtaposed by the opening “and for a while” which implies that this can be broken- perhaps due to changing class and gender norms.

MANDERLEY- the Rhododendrons stood fifty feet high, twisted and entwined with bracken and they had entered an alien marriage with a host of nameless shrubs.

The rhododendrons often appear to symbolise Rebecca, and are thus showcased to be completely intertwined with Manderley as a place and a re hugely overbearing. Yet there appeared to be something dangerous about the juxtaposing “alien” and “marriage”, which perhaps is a subtle commentary on the outcome of the novel and the true actions of Rebecca.

MANDERLEY- And the ashes blew towards us with the salt wind from the sea.

Final line of the book, so very important structurally. Important that the final referral is to “us”, highlighting that the relationship still continues, or at least in a fashion that the narrator recognizes. Yet this “us” is juxtaposed by the “ashes” which have been created by Mrs Danvers and the “sea” which continually associated with Rebecca, thus the relationship is literally surrounding by the ghost of the past.

MANDERLEY- A house bewitched carved out of the dark

An extremely gothic description, with the harsh adjective of “bewitched” and verb of “carved” highlights something incredibly dark and menacing. This appears typical of gothic literature where often the location appears pivotal within the overall novel.

MANDERLEY- Yes, there it was, the Manderley I had expected, the Manderley of my picture postcard long ago.

Lots of punctuation which creates a very fragmented sentence pattern perhaps highlighting how insecure she feels and how little she fits in with Manderley. Moreover, the juxtaposition of Manderley and the dimunitive, alliterative/ plosive “Picture postcard” really highlights the difference between the narrator and everyone else- harsh sounds= harsh reality of differences.

FAVELL- I might have been the burglar and he the master of the house.

Juxtaposition between the idea of “burglar” and “master” showcases the changing ideas in society, e.g. the crumbling class structure.

FAVELL- He knew I was her lover; he was jealous, madly jealous.

Repetition of “jealous” highlights the mental struggle of Favell, his collapsing mental state is thus mirrored within his language, which is bult up further by the fractured sentences (semi colon). Moreover, the tone of pride here reinforces this. Can be seen as ironic, with Favell possibly being the jealous one, highlighting a shift in perspective.

FAVELL- You think I’m the big bad wolf, don’t you? He said. But I’m not, you know. I’m perfectly ordinary.

Reference to the “big bad wolf” is reminiscent of the “bluebeard” myth that resonates with Rebecca and has string illusions to. Fairy tales are often aimed at children and babies, so it only serves to infantilise the narrator further , with the rhetorical question also adding to the infantilising nature, possibly being patronising.

FAVELL- That’s the sort of Death Rebecca would choose, she’d go out like she lived, fighting.

Appears to recognise the power of women and the agency of women, with the verbs like that of “choose” even when this is in relation to stereotypically masculine ideas such as “fighting”. Highlights the slow change contextually in women’s agency.

FAVELL- All married men with lovely wives are jealous aren’t they and some of ‘em just can’t help playing Othello.

Direct link to otherness with the metaphor of “Othello”, we often consider the narrator as the one who is other yet here the blame is shifted to Maxim as the walls come crashing down around him- possibly implies that women always take the blame as it is easier and that love can be dangerous.

FAVELL- A lovely women isn’t like a motor tyre, she doesn’t wear out. the more you use her the better she goes.

Atypical description as it is pretty overtly sexual which is quite unusual, especially in the 1930s which still relied on quote strong norms and values. The simile is also unusual as it focuses on what a women is “not” yet the comparison to a “motor tyre” feels far ore typical as the comparison is to something overtly masculine, thus highlighting the remaining strict gender roles in society. Can be seen as typical of earlier decades, emphasising how very little has changed when it comes to gender roles.

BEN- She gave you the feeling of a snake.

One of the very few clear descriptions of Rebecca, without any nuance or alternative ideas. The snake is very clearly an evil omen, a religious reference, thus highlighting the apparent inherent evil of Rebecca.

REBECCA- This new ones not like our Mrs de Winter, she’s different altogether.

Focus on the use of names, here the narrator is just “this new one”, which fits with the highly reductionist tone used, contrasted with the full name of “Mrs de Winter”. Her importance is highlighted through the use f the personal pronoun of “our” which juxtaposes the tone of “she different altogether” stronger. Heavy semantic field of isolation and otherness, possibly highlighting barriers around age, class and insecurity of identity.

REBECCA- Rebecca stood out black and strong , the tall sloping R dwarfing the other letter.

Structurally, first introduction of Rebecca, ominous. Contrasts past positive comments about her, with adjectives such as “black” and “strong” conveying unfeminine and gothic imagery.

REBECCA- The same as the crushed white petals of the azaleas in the Happy Valley.

The adjectives of “crushed” and “white” juxtapose each other with the ideas of purity and virginity being “crushed”, which further contrasts the idea of the “Happy Valley” and the positive emotions that the narrator has associated here. This imagery reinforces the narrator to remember that she is the second wife, and that her idealised dreams are “crushed”. Furthermore, the azealas have connotations of femininity, fragility, passion and elegance, which are often used in combination with Rebecca, not the Narrator.

REBECCA- Rebecca, whom they described as beautiful, talented, loved by all.

List of 3, emphasises and highlights the power and beauty that Rebecca wields, the epitome of everything positive a woman can be. Frames Rebecca as the centre, god-like persona, who is better than “them” all.

REBECCA- She’s still mistress here, even if she’s dead.

Another example of Rebecca transcending traditional power. Referred to with the personal pronoun of “she” if which really reinforces Rebecca’s gothic powerful trope as “the double2 as the reader knows who is referenced implicitly.

REBECCA- She ought the have been born a boy, i often told her that.

Rebecca transcends all gender stereotypes- breaks gender norms and values. Context of Femme Fatale.

REBECCA- I was sitting in Rebecca’s chair, I was leaning against Rebecca’s cushions.

Repetition of Rebecca’s name in comparison to “I” when surrounded by all of Rebecca’s personal items highlights the increase of insecurity within the narrator, feeling threatened by Rebecca’s (lack of) presence.

REBECCA- Rebecca, always Rebecca. i should never be rid of Rebecca.

Repetition of the name, highlights her importance and prevalence in the narrator’s mind. The fact her name is repeated is interesting as it is the very item that the narrator does not have, highlighting her lack of identity. Moreover, the certainty of this answer is reinforced with the adverbs such as “always” and “never”.

REBECCA- But it wasn’t a man, it wasn’t a woman. The sea got her.

Use of the triad and the short sentences highlights its importance of her death, which alongside the simple language highlights the straightforward and powerful nature of Rebecca and her death. The use of the pronoun “her” over Rebecca’s name perhaps highlights the strength of emotion that Danvers feels for Rebecca. Moreover, the idea that “the sea” got her highlights her power and importance that only a force of nature would take her down.

MRS DANVERS- Did you not know? She had said. She simply adored Rebecca.

Clear rhetorical question, designed to highlight Rebecca’s immovable place within society. Especially as the language is simple and clear, within short sentences highlighting that it must be truthful and accurate. The adverb “simply” and verb “adored” reinforces this simplistic imagery. As well as this, the infantilising tone pushes the idea that the narrator is useless due to her class and age.

MRS DANVERS- The angry colour flooded her dead white face.

Huge juxtaposition between “angry colour” and “dead white” highlights her status as a gothic trope, and appear somewhat otherworldly and powerful. Moreover, the short sentence used highlights this as a certain, immovable event.

MRS DANVERS- She was not in love with anyone. She despised all men. She was above all that.

Decisive language used, such as the verb of “despised” or the adverb of “all”, which is compounded by the sureness of the short sentence used. Moreover, Rebecca gains a somewhat otherworldly presence by rising to the rank of “she”, existing without a name but an identity (unlike the narrator), highlights her innate feminine power.

MRS DANVERS- She had a right to amuse herself, hadn’t she? Love- making was a game to her, only a game.

Repetition of “game”, creates the fractured sentence structure, highlighting its emotional importance to Danvers, which is only reinforced further by the rhetorical question, which serves to solidify this as an idea. Moreover the noun choice of “right” solidifies the power of the woman whom holds complete dominance when only serving to “amuse”.

MRS DANVERS- Hers was limp and heavy, deathly cold and it lay in mine like a lifeless thing.

One of the few instances where the narrator appears to wield more power, Ms Danvers is presented with the passive verb “lay” which is reiterated with the alliteration in “lifeless” and “limp”, she is even dehumanised further with the noun choice of “thing”. however, this can be seen as ironic as the Gothic imagery running throughout the novel could serve to portray Mrs Danvers as the menacing character here, acting as an omen.

MRS DANVERS-Whose prominent cheek-bones and great, hollow eyes gave her a skulls face, parchment white, set on a skeleton’s frame.

Gothic, otherworldly description through the haunting metaphor of “skull’s face” and “parchment white” and the dual adjective choice of “great hollow eyes”. A traditionally unfeminine description, possibly portraying power to not come from looks and identity.

MAXIM- The last supreme bluff. She wanted me to kill her. She Foresaw the whole thing. That’s why she laughed.

Lots of aggressive short sentences and verb choices, highlighting the strength of emotion he evidently feels, for Rebecca, highlighting that even though the issue is dealt with, she remains, and still controls the narrative. This is made especially clear through the continual use of personal pronouns of “she” which dehumanises and distances her but also highlights Rebecca’s implicit control of the situation.

MAXIM- No I’m asking you to marry me you little fool.

Very contrasting tone present here between the traditional image of “marriage” and the adjective and noun choice of “little fool”, indeed even the statement itself takes on an accusatory tone with the harsh choice of “you”. Possibly portraying theme of appearance vs reality.

MAXIM- My Darling/ My little love.

Two separate endearments from Maxim to the narrator, both highlight his possessive nature through the possessive pronoun of “my” and also serve to belittle her by highlighting her youth, with the adjective “little”.

MAXIM- It’s gone forever, that funny, young lost look that I loved…it’s gone, in 24 hours. You are so much older…

Lots of long sentences and fragmented language, highlights the power of Maxim in comparison to the narrator. This is effectively highlighted through the adjective choice of “funny, young lost”.

MAXIM- I never dress up. Said maxim.

Ironic, could be seen as a wider metaphor of the class system, a short sharp clear statement. If this is the case regarding the class system metaphor, it highlights that Maxim appears to have little regard for this class façade, which is ironic as he kills his wife for not fitting in.

MAXIM- You look like a little criminal.

Short sentences highlight Maxim’s power over the narrator, which is only reinforced with the adjective choice of “little” and the rather accusatory pronoun choice of “you”."

MAXIM- Men are simpler than you imagine, my sweet child. But what goes on in the twisted tortuous minds of women would baffle anyone.

A Husband is not so very different to a father after all.

Alliteration of twisted and tortuous reinforces the idea that women are difficult to understand and highlights the large gender division that has occurred.

further reinforced by the infantilisation through personal pronoun and adjective of “my” and “sweet”, and the description of a husband being as nurturing as a father, infantilising their wives.

MAXIM- He stared at me at first like a puzzled child and then he held out his arms.

The simile “like a puzzled child” highlights the new power dynamic between the narrator and Maxim, even with the childlike motion of holding out his arms, as if desperate for guidance from the women he had consistently infantilised throughout the novel. Shift is narrative, with the narrator now infantilising Maxim.

MAXIM- I held him and comforted him as though he were Jasper.

Flips the imagery we have seen previously of the narrator being compared to Jasper. Now, by the end of the novel it has changed, now the narrator holds the action with the quote opening with “I”, now the narrator also appears to be fulfilling the maternal and female role, as seen through the verbs of “held” and “comforted”.

NARRATOR- Rhododendrons, blood red and luscious.

Rhododendrons are often associated with Rebecca and showcase duality between intense beauty and hidden danger or toxicity.

NARAATOR- My curls were her curls, they stood out from my face as hers did in the picture.

Desperation if the narrator to fit in through class and age as the “ideal woman”.

NARRATOR- He never spoke to me. He never touched me. We stood beside one another, the host and the hostess and we were not together.

Idea of acting, use of the personal pronoun of “he” not Maxim, lots of punctuation- fragmented language. Semantic field of isolation.

NARRATOR- Dress as a little Dresden shepherdess

Simile, which depicts the narrator in a very common outfit for the upper class at costume balls. Would hit close to home for the narrator, as it is an incredibly lower class profession, causing her to feel more insecure about her class.

NARRATOR- Put a ribbon in your hair and be Alice in Wonderland.

Chosen by Maxim, a good example of intertextuality, but also of Maxim showcasing the narrator as simply a child once again, something that he can control and manipulate as he wishes to.

NARRATOR- Would we never be together, he a man and I a woman, standing shoulder to shoulder, hand in hand with no gulf between us?

I did not want to be a child. I wanted to be his wife, his mother. I wanted to be old.

Rhetorical question, highlights the uncertainty that the narrator feels which is further reinforced through the dislocated language and listing.

Semantic field of longing, repetition of “wanted” highlights desperation for love and a dream like reality.

NARRATOR- I knew then I was no longer afraid of Rebecca. I did not hate her anymore. Now that I knew her to have been evil and vicious and rotten.

Ironic considering that the narrator is attempting to take control. yet uses a polysyndetic list that creates a childish tone, especially by using adjectives such as “evil”, “vicious” and “rotten”.

NARRATOR- He ran his fingers through my hair… it was not like stroking Jasper anymore.

Maxim still wields the power in this situation as he is the one with the active verbs (ran) and the personal pronouns. yet the narrator really appears to be profiting off if this interaction, despite being mostly passive, perhaps as she has adapted successfully and is not longer seen to be a child.

NARRATOR- I wanted to be a traveller on the road, a bride in love with her husband.

The modal verb of “want” highlights the desperation that the narrator now feels, how she is desperate to be something that she in many ways is already. Thus highlighting the confusion and ambiguity that plagues the novel as well as the relationship between Maxim and the narrator.

NARRATOR- There was nothing quite so shaming, so degrading as a marriage that had failed.

Highlights the deeply ingrained nature of the class system and gender norms, despite the changes in the 1930s society, which is highlighted by the adverbs of “so” which are repeated in order to highlight the depth of emotion felt.

NARRATOR- The fact that I loved him in a sick, desperate way like a child or a dog, did not matter.

The use of three highlights the depth of emotion and entrapment felt, this is innately reinforced by the simile used of “child” and “dog” both seen to be under the whim of adults and unable to fend for themselves. Furthermore this is presented as a “fact” highlighting the perceived immovability of the position the narrator feels she is in.

NARRATOR- She is comparing me to Rebecca; as a sharp as a sword the shadow came between us…

Some continual gothic imagery here, with the idea of “shadows” but the simile present here is inherently masculine, immovable one, perhaps highlighting the definite nature of Rebecca’s legacy and how she successfully transcended everything that Maxim stood for.

NARRATOR- The face in the glass stared back at me and laughed.

A final mention to the double, highlighting the importance of the gothic trope to the very end, appears that the double wields more power as she is able to laugh whilst the narrator is simply described as passive, yet the face remains nameless but it is simple to assume that it is Rebecca, highlighting her sheer power.