Tuesday, April 13, 2010
Throughout the book, the girl is incapable of stepping out of Rebecca's shadow; Rebecca's beauty, grace and, most importantly, Maxim's love seemed to elude her. Her own lack of individuality and initiative not only allows Rebecca's spiritual presence to plague her, but also to continue to reign as the real Mrs. de Winter. "The thought that Maxim would never love me because of Rebecca" arouses jealousy and helplessness, an aspect that appeals strongly to the romance genre.
Love and Heartbreak:
These are the fundamentals of the romance genre and are a dominant factor in the romance between Maxim and the girl. The girl's love is unconditional, even during times when Maxim displayed no affection or interest in her. The undying memory of Rebecca again causes much heartbreak for the girl when faced with her marriage failure.' She mourns, I had gone into this marriage, imagining I would bring happiness to Maxim, who had known much greater happiness before.' The author emphasizes strongly on the girl's agony and loneliness, in obvious support for the romance conventions. The novel's romantic qualities are revealed when Maxim professes his true love for the girl near the climax of the book, releasing her from Rebecca's domination once and for all.
Misunderstandings and Obstacles:
Like all romances, the journey to true love and happiness is a long and hard one, Rebecca being no exception. The misunderstanding that incriminated the girl was the costume she innocently chose for the party, triggering off an estrangement between the couple. For the first four months of her marriage, the girl thinks under the misconception that Maxim is still in love with Rebecca, and this in turn, lowers her self-confidence as the mistress of Manderley.
The main obstacle is, of course, Rebecca: 'Her damned shadow keeping us from one another.' Her living accomplice, Mrs. Danvers fuels her hatred for the woman who is trying to take Rebecca's place, by doing all in her power to tear the couple apart. However, like all romances, overcoming these misunderstandings and obstacles does not extinguish their love, only strengthens their relationship.
Sacrifices:
A typical convention of the romance genre is the sacrifices lovers make to be with each other, forsaking everything of importance to them before. The girl in Rebecca prepares to make
the ultimate sacrifice to be with Maxim. She declares, I don't want you to love me, I won't ask impossible things. I'll be your friend and your companion.' She is willing to sacrifice her entire life to be with a man who apparently does not love her because her love for him surpasses all else.
There are other aspects of the book that support the conventions of the romance genre, but the author has approached these with subtlety. For instance, the novel is related through a female perspective and she is one we can relate to. She is shy, awkward - a misfit who is searching for her identity, not wishing to conform, but unable to stand out.
How Rebecca Challenges the Romance Genre
No Focus on the Relationship:
Owing to the Gothic and suspense elements woven into this particular romance, the author has not focused on the relationship between Maxim and the girl. For the first half of the novel, the girl is unsure of herself and Rebecca remains the real mistress of Manderley and the climax revolves around her murder and the final solution of the case. The reader is positioned to believe that the romance is between Maxim and Rebecca and that Maxim is more of a fatherly figure for the girl, than a husband.
The Proposal:
Marriage proposals are conventionally romantic speeches binding a couple together in the first stage of the rest of their lives. The proposal Maxim makes to the girl is business-like and completely unexpected, having known each other for a matter of days. His infamous statement, ' I'm asking you to marry me, you little fool' is an outright challenge to the romance genre, and the affair is settled quickly over breakfast.
The Ending:
And they lived happily ever after,' seems to graciously conclude all fairy tales. However, in this case, the ending both supports and challenges the conventions of the romance genre. Manderley, Maxim's beautiful legacy, burns down and Maxim and the girl escape to other parts of Europe, seeking refuge in hotels. There is obviously great sadness and longing for their home with the famous opening: 'last night, I dreamt I went to Manderley again', but they are free at last. Free from Rebecca.
This is far from a traditional, fairy-tale ending, but in their own way, they have found happiness with each other, even in this exile they have brought upon themselves.
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