The Presentation Of Journeys Of Central Protagonists Lucy Honeychurch And Changes

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E.M. Forster and Mohsin Hamid successfully depict the prominent theme of Journeys in their novels. Both novels present the prominent theme through their central protagonists Lucy Honeychurch and Changez, where they both create a specific journey for each character, whether their journey being physical, spiritual or both.

Forster dynamically portrays journeys as a push for the characters, forcing them to experience certain aspects of life from a different perspective. Forster shows Lucy’s willingness to change, through the subtle hints Forster provides in the novel. Additionally, Forster presents a cyclic journey by starting and ending his novel in a country filled with culture, Italy, to further highlight the strong connotations of rebirth in his novel. Which is seen through Lucy as she embarks her own journey. Though she may get “muddled” along the way she inevitably allows herself to let go and see life from a different perspective which allows Lucy becoming self-assured and independent. Forster made this one of his key aims stating that ‘We must be willing to let go of the life we have planned so as to have the life that is waiting for us”.

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Although Hamid interestingly presents journeys to show the growth and change of each character, Hamid similarly creates a journey for his characters enabling them to reflect and see the world from a different perspective. An example of this is where Hamid successfully uses dual times to show the different perspectives, unlike A Room with a View which uses focalised narration which allows for the reader to have an insight on all characters, of Changez. An example of this is where ‘present’ Changez reflects upon his past self on how “ashamed” he was with himself for his actions when he is on a business trip. On this trip, Changez realises that his American colleagues are treated like “officer class of global business”. The simile Hamid provides creates a division of hierarchy where America is seen superior. Furthermore, the adjective “global” also reinforces the connotations of power and influence America possesses. Changez also states that he wanted his “share of respect”, which could further present Changez feeling inclined to almost alter the way he behaves forcing him to “act and speak… more like an American”. As Changez changes his “bearing”, this could also represent Changez trying to change his identity. Through the prevalent theme, identity, Hamid presents, could arguably highlight as a society we alter ourselves to conform to others’, through a psychoanalytical perspective this type of conformity is affected due to group size, which Asch tested stating that individuals more likely to conform to the majority (1956) which could explain Changez willing to alter his identity to fit in.

Lucy arguably has been ‘shackled by Victorian conventionality” stated by Philip Wagner, making her seem repressed at times and not being able to open to her true desires. We see the gradual change of Lucy, from where she was continuously “repressed” to where she decides on her own, to make moral decisions by calling off an engagement. Forster presents this gradual change by using satirical elements such as misunderstandings to highlight key aspects of Lucy’s spiritual journey throughout the novel. Take chapter one, where Lucy gives Emersons’ a “nervous little bow”. The adjective “nervous” emphasises Lucy’s willingness to change since the adjective has an association with contemplation which suggests voluntarily did this. Although the “bow” was small as she tries to conform with the social etiquette of the Edwardian period, her “bow” could be presented as an act of rebellion as she voluntarily “turns back” to do so. Having Lucy misunderstand situations by bowing at inappropriate times presents one of Forster aims, being a comedy of manners.

Unlike Lucy, Changez can vocalise his desires and is able to make moral decisions, the journey Changez must embark though, is finding his identity. This is seen at the straight at the start of the novel when meeting ‘The Stranger’. The initial reaction we have from Changez to the Stranger is “do not be frightened by my beard: I am a lover of America”. Interestingly, the “beard” has strong links to the religion, Islam. Beards are worn by men because of the Sunnah, bringing them closer to the Prophet Muhammed. Although Changez’s religion is never stated in the novel, which Hamid comments about this in an interview “Neither [The Reluctant Fundamentalist] of them uses the word religion very much, but each explores a different side of phenomena that are religious” the Stranger is still “frightened” though of Changez’s appearance. This could be Hamid critiquing the society we live in, where we judge based on face value. He then states that he is “A lover of America” suggesting how in sync Changez may have been with the country. This creates a link in Changez identity, he states the “lover of America” and calling himself a “New Yorker”, but seeks refuge in the “Kashmiri Tea” and having his “beard”. Hamid highlights the duality of Changez’s identity through this link to maybe show it’s not where you come from that define you, it is the experiences and where you seek refuge that defines us.

In chapter two, when travelling to Santa Croce, the reader can acknowledge the commencement of Lucy’s metamorphosis. Baedekers has a major significance in this chapter; people would use Baedekers in the early 20th century when going on the ‘Italian Grand Tour’, which gave people a pre-determined route to travel, in fact, Forster went on this tour in 1901. Forster skilfully uses his experiences to present the Baedeker as a symbol of restriction, like the church, Santa Croce, Lucy is unable to consider her “own thoughts”. Lucy needs to “emancipate from her Baedeker” Ms Lavish advises. Forster uses the verb “emancipate”, which further emphasises Lucy still being young and oblivious to the real beauty of Life. When reaching to Santa Croce, Lucy does not only lose Ms Lavish but also has no Baedeker. Through focalised narrative, Lucy’s opinion of Ms Lavish has also changed from “clever lady” to a “shoddy lady writer”, which again, acknowledges Lucy perception on life and people are changing. Being lost allows Lucy to enjoy the “pernicious joy of Italy”. Lucy’s joy, tied along with fate, allows her to meet the Emersons. Through their encounter, Lucy grows as a character and being more than her Baedeker. Mr Emerson allows Lucy to see life in a “new perspective”. He tells Lucy that she is “inclined to be muddled” but she should spread her incomprehensible thoughts to the “sunlight”. Forster successfully presents the potent life force, the “sun” to suggest they consider other factors such as hope and the religious connotations of Good Vs Evil. Her metamorphosis really begins when Mr Emerson when he “touched her gently”. The touch again has religious connotations, it could be viewed as a blessing, Mr Emerson wants Lucy to “emancipate” and progress.

Similarly, in The Reluctant Fundamentalist readers can acknowledge the commencement of Changez’s metamorphosis in chapter five. Hamid, alongside Forster, presents significant symbols in their ‘catalyst chapters’ which arguably could be the reason for the dramatic turn for the protagonists’ journey for the whole course of the novel. 9/11 plays an important factor not only in this chapter but for the rest of the novel. The devastating 9/11 attack is seen as the deadliest terrorist attack in the world which was planned by an extreme terrorist group. Resulting in 2977 casualties and over 6000 injuries. Though being a devasting moment in American history, 9/11 symbolises the destruction of the American foundation, which could explain the reason why Changez “smiled” at the death of innocents. What makes this conversation significant is Hamid, through the voice of Changez, challenges the stranger by mentioning the hypocrisy of America. Changez mentions this hypocrisy to the stranger stating, “Do you feel no joy… of American munitions laying waste the structure of your enemies”. Interestingly, Hamid uses the pronoun “your” which creates a clear division between Changez and the Stranger, which could further suggest on Changez being an outsider. Hamid provides subtle messages earlier in the novel to present the journey of Changez realising his identity. This is seen at the start of the novel where he is the “one of the only two Pakistanis… entering my class” suggesting the lack of diversity in Princeton; in chapter two Changez is referred as a “well liked… exotic acquaintance”. Although the adjective, “exotic” has positive connotations, it does differentiate Changez from the “Ivy men”, his difference in this sense, is seen as something intriguing.

The “Fourth Chapter” is also significant, since it explores Lucy attempt in being rebellious and discovering her own desires. Her rebellious state could have been arguably triggered through the music she plays in chapter three. The Beethoven music she plays, somewhat match Lucy personality, conflicted, through the fluctuations and the instability of his music. Forster presents another potent symbol, “music”, as a form of escapism for Lucy, where she can fully express herself: “with a roar of the opening theme”. The onomatopoeic verb “roar” has quite distinct connotations to strength and liberation, something Lucy cannot access yet as she “re-entered daily life” where she exteriorly conforms to social etiquette. We uncover her rebellious state is temporary, as she decides to go to “Alinari’s shop” instead. Although going to the town unchaperoned, Lucy is still unable to think for herself, she gives “uncritical approval to every well-known name”, but she does feel “discontent” which she is “conscious” of, suggesting a progression of Lucy in her journey, this is also seen through the phallic imagery “unattainable treasure throbbing” which again shows longing desires but also growing sense of freedom, something George longs for as he wants “to live”, rather than “return to the old life!”, George clearly rejects social conformity something Lucy hasn’t acknowledged just yet.

In chapter six, Forster successfully heightens the journey to Fiesole, by using mythological names, naming the driver, Phaeton and his companion, Persephone. Phaeton was the son of ‘Sun of God’ and Persephone the daughter of the Goddess of Spring. The ride to Fiesole could resemble the biblical story of Elijah going to Heaven; Forster, arguably considered all these aspects to create transcendental connotations to Fiesole. Through focalised narrative, Lucy is still trying to reject “The work of Fate” as she tries to avoid George at all costs. This inevitability does not work, as she is out seeking for the clergymen, Forster again uses satire through misunderstandings between the Italian man and herself which drives the inevitable fate for these characters. As the Italian takes her to not to the clergyman but to George. Forster then shifts the focal narrative to the setting around Lucy. The sight of the “great blue violets” opens a passage for Lucy to see the world being “beautiful and direct”. In the Victorian period, flowers were a way to show true emotions. Violets represent thoughts associating to love. The profusion amount of violets could be another driving force for Lucy to express herself which could be understood from a psychoanalytical approach. Forster presents vague images of true the beauty of the setting, presenting the lack of clarity. “brown network… shattered into pieces”. Forster uses the adjective “brown” again on Charlotte. The opaque colour is used as a shield and blocks views; it could be argued that Charlotte could be a barrier. The profound water imagery also could present Lucy’s sexual desires of The Arno.

Throughout the second part of the novel, Forster skilfully presents the metamorphosis of Lucy spiritual journey. The central protagonist, at this point, is now engaged to Cecil Vyse. Cecil is seemingly a perfect match for Lucy, but through various moments of foreshadowing in chapter eight we realise that the underlying traits, Mr Beebe stating that Cecil “is an ideal bachelor” and Freddy’s nickname for Cecil, the “Fiasco”, which has a plethora number of negative connotations such as disaster and failure. These negative connotations are also seen through the failed kiss between Lucy and Cecil. Forster presents Cecil’s “gold pince-nez” as a key symbol, which could suggest their incompatibility, but furthermore the conflict between materialism and passion, both characters standing for opposing things. Interestingly, Lucy can think about this kiss, and through focalised narration, Lucy wishes to be kissed similarly to a “navvy” or a “labourer”. Forster uses working class men as an example to maybe highlight how they revoke social conformity and act on impulse. Alongside, Mr Vyse is described as a “medieval” and compared to a “Gothic statue”. Forster successfully uses pre-dated art from the 12th century to emphasise Cecil’s conventional attitudes towards life. Again, chapter nine uses a profound amount of water imagery to almost mirror the kiss between Lucy and George, the main difference is the water once it is now depleted, which symbolise the lack of driving desire presented. This scene also highlights also how Cecil conforms to social expectations as he glances “round to see if they were observed” suggesting his care for others’ opinion. This is also seen, through Lucy’s perspective, Cecil believes that women should “revere men for their manliness”, which again indicates a sense of conformity, but it also highlights Cecil’s muddled idea in what makes a man. Lucy, therefore, needs to embark a journey of realisation to “emancipate” from Cecil Vyse.

Cecil could arguably be the reason himself for the be the reason for the ending of his own engagement. In chapter ten he invites The Emersons to rent a “country cottage” in a way for the “classes…to mix”. Interestingly, he states that he is a “democratic” and believes in “intermarriage” suggesting a sense of change through these ideas, but snobbishly criticises the Emersons interest in Luca Signorelli. He also proceeds to invite the Emersons in “scoring off Sir Harry”. Which ultimately leads to Cecil’s downfall in chapter seventeen. As Lucy becomes more expressive even through speech, she ultimately states that they “are too different”. Although her expression is quite flawed since she incorporates George’s opinion on Cecil there is something underlying which makes this unique, the union of Lucy and George. She initially states that Cecil is a “sort who can’t know anyone intimately”, this clearly presents Lucy’s expressing her own sexual desires and through her perspective, it is shown Lucy “accepted it”, as Lucy begins to act on impulse. Through her expression, Cecil finally “looked at her instead of through her” which suggests Cecil beginning to understand Lucy. Forster interestingly uses the dominant sense of sight throughout the novel in this line, to further present Lucy journey from being transparent to vividly seen. The chapter ends with an amicable split with a saddened contemplation between herself as she lies to Cecil “that she loved no one”.

The end of chapter twenty signals the end of Lucy’s metamorphosis, hence the title “The End of the Middle Ages”. She has not only rejected social conformity by eloping, but she has learnt one ultimate thing, to express herself. As she ultimately ends up with George, who promised to Lucy in chapter sixteen that he will let Lucy have her “own thoughts”. The novel ends with spring seeping in through because of the forceful River Arno. The forceful imagery presented could also symbolise Lucy change as Spring seeps in, which have an abundance of connotations to rebirth, like the cyclic journey Forster skilfully demonstrates in the novel.

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