Daphne Study Questions
What role does Manderley play in the novel?
Although Manderley does not have an overt role in the novel, Maxim's love for the estate is the underlying catalyst of all of the major conflicts in the novel. After Maxim marries Rebecca and learns the truth of her nature, he agrees to remain married to her because she promises to transform Manderley into a magnificent estate. Even after her affairs have become more overt, Maxim continues to uphold their farce of a marriage because Rebecca has fulfilled her end of the bargain and Manderley has become the most famous house in the area. Even Maxim's decision to murder Rebecca is determined by his love for Manderley: he only pulls the trigger after Rebecca tells him that her bastard child with Jack Favell will inherit the estate. If Maxim had been less preoccupied with Manderley, he could have annulled the marriage immediately and avoided the following years of anguish. Instead, he chose his house over logic and morality and ultimately paid the price of seeing his beloved Manderley burn to the ground.
What is Ben's significance in the novel?
Ben is the only character in the novel to refer to Rebecca in a negative way from the very beginning. Until Maxim reveals the truth about Rebecca near the end of the book, the narrator operates under the delusion that Rebecca was beloved by everyone. As such, she overlooks Ben's cryptic assertions about Rebecca, assuming that they are merely the confused ramblings of a mentally disabled man. In this way, Ben assumes the position of the wise fool, a literary archetype that dates back to Ancient Rome but was popularized in Shakespearean plays such as King Lear. As with the Fool in King Lear who uses his "mental eye" to see the true natures of the King's daughters, Ben is able to see the evil in Rebecca long before the narrator does.
What is the significance of fire in the novel?
Fire appears twice in the novel: first, when the narrator destroys the inscribed flyleaf from Maxim's book of poetry, and second, when Manderley itself is destroyed in flames. In both cases, fire represents purification, a complete destruction of the past. With the inscription in the book of poetry, the narrator was already preoccupied with the thought of Rebecca and felt tormented by her presence. She first cut out the flyleaf and then ripped it into small pieces but only felt at peace after burning the pieces. Rebecca's presence at Manderley was far more pronounced than in the book of poetry, and the fire at the estate similarly destroyed her influence over the narrator and Maxim. Although both characters greatly mourn the loss of Manderley, the fire is the only way for them to leave the past behind them
How does the narrator's relationship with Maxim change after the revelation of Rebecca's death?
For the first part of their marriage, Maxim and the narrator have the unequal relationship of a parent and child. Maxim remains aloof from his wife, treating her with patronizing consideration and striving to maintain her innocence. The narrator feels Maxim's condescension and desperately wishes to be taken seriously and be able to support Maxim as an equal partner in the relationship. After the truth about Rebecca's death is revealed, the narrator loses her child-like innocence but also loses her insecurity and fears about Maxim's love for Rebecca. She is able to "grow up" for the first time and become a part of a mature relationship with her husband. Although Maxim regrets the loss of her innocence, he acknowledges that it allows her to surpass her status as a child in the relationship.
Is Maxim a likable character? Why or why not?
For the majority of the novel, Maxim de Winter is not a particularly likable character. Throughout his early interactions with the narrator, he is rude, moody, condescending, and generally detached from those around him. The narrator is entranced with his sophistication and brooding temperament, but it is difficult for the reader to fall in love with him as quickly as the narrator does. His behavior to the narrator when she finds the beach cottage, as well as after her entrance at the costume ball, is especially appalling. It is only after the truth of Rebecca's death is revealed that Maxim becomes a more sympathetic character. His previous moodiness and detachment from the narrator are explained, and he is suddenly capable of treating the narrator as an equal partner in the relationship, rather than a child.
How does the narrator compare to Rebecca?
For the majority of the novel, the narrator gives the impression of being very innocent, timid, unsophisticated, and insecure. Rebecca, on the other hand, is described by all as being overwhelmingly beautiful, elegant, graceful, vivacious, and clever. The narrator herself prefers Rebecca's glamour and sophistication to her own shyness and finds it difficult to believe that Maxim could ever love such an inferior character. Even to the readers, Rebecca seems to be a more appropriate heroine than the insecure girl with lanky hair is. However, as Frank Crawley points out, the narrator also possesses characteristics that Rebecca could never attain: modesty, sincerity, and kindness. After the narrator comes into her own at the end of the book, Rebecca no longer seems to be superior. The narrator is now a self-assured confident woman, far more worthy of being a heroine than the flashy and sexualized Rebecca.
What role does Mrs. Danvers play in the novel?
From the very start, it is clear that Mrs. Danvers is the antagonist of the narrative; her rude resentment of the narrator establishes their relationship as the conflict that must be resolved. However, Mrs. Danvers is also crucial as the physical representation of Rebecca's presence at Manderley. Mrs. Danvers maintains all of Rebecca's traditions and habits in the house -- even down to the use of the house telephone for approving menus -- and strives to keep Manderley the same as it was during Rebecca's life. In this role, Mrs. Danvers also articulates the narrator's fears about Rebecca, assuring her that she is and always will be inferior to Rebecca. It is only after the narrator discovers that Maxim never loved Rebecca that she is able to escape Mrs. Danvers (and Rebecca's) influence at Manderley.
What justification does Maxim give for killing Rebecca?
Maxim's primary reason for killing Rebecca is her manipulative lie that she is pregnant with Jack Favell's child. Maxim is so horrified by the prospect of Rebecca's bastard child becoming the heir to Manderley that he shoots her through the heart. When he explains Rebecca's death to the narrator, Maxim also gives a more general background to justify the murder and explain his emotions leading up to the act; he describes Rebecca's immorality and the unspeakable things that she had told him about her life on the cliff in Monte Carlo. At the end of the novel, Maxim's act of killing Rebecca is further justified by the revelation that she was already dying of cancer and had simply manipulated him into ending her life quickly.
Why don't you go? We none of us want you. He doesn't want you, he never did. He can't forget her. He wants to be alone in the house again, with her. It's you that ought to be lying there in the church crypt, not her. It's you who ought to be dead, not Mrs. de Winter. Mrs. Danvers, p. 246
Mrs. Danvers says this excerpt during a confrontation with the narrator after the costume ball. For the first time in the novel, all of the narrator's fears about Rebecca and Maxim are articulated aloud. Mrs. Danvers manipulates the narrator's insecurities and preoccupation with Rebecca to persuade her that Maxim is still in love with his first wife and the narrator has no place at Manderley. In fact, Mrs. Danvers' manipulation works so well that the narrator seems close to killing herself before the trance is broken by the ship's rockets.
Why does the narrator remain nameless throughout the novel?
The narrator's anonymity represents her struggle to determine her own identity over the course of the book. Timid, insecure, and unsure of herself, the narrator is uncomfortable with both of her names: first, the "lovely and unusual" name given to her by her parents (which does not match her dull view of herself) and second, the title of "Mrs. de Winter" given to her by Maxim. The narrator is particularly overwhelmed by the symbolism of "Mrs. de Winter" because she feels that she cannot live up to the shadow that Rebecca left on the title: the expectation to be a perfect hostess and perfect wife. Only after the narrator learns the truth about Rebecca does she feel confident enough to assume to full meaning of her married name and exercise authority at Manderley. Even at the end of the novel, however, the narrator is still unnamed; at this point, she no longer needs a name in order to establish her identity.
Last night I dreamt I went to Manderley again. The narrator, p. 1
The narrator, p. 1 This quotation is the opening sentence of Rebecca has become one of its most often-quoted lines. It immediately establishes significant questions about the plot of the novel. What is the nature of this mysterious Manderley, and more, importantly, what happened to it that makes the narrator dream about it repeatedly? The starkness of the sentence suggests a certain nostalgia, almost as if the narrator would return to Manderley if she could but is prevented by some larger force. The novel then becomes an explanation of this one mystery; every event that unfolds contributes to the loss of Manderley and the narrator's preoccupation with it in her dreams.
Tall and dark she was. She gave you the feeling of a snake. I seen her here with me own eyes. By night she'd come. Ben, p. 154
The quotation is spoken by Ben during the narrator's second conversation with him on the beach next to the cottage. Significantly, Ben is the only character who acknowledges Rebecca's evil nature from the very beginning. While the other minor characters in the novel emphasize Rebecca's beauty and sophistication, Ben ominously describes a tall, snake-like woman who only appears at night. Despite his mental retardation (or perhaps, because of it), Ben is able to see the true Rebecca, a version of the character that the narrator doesn't know existed until Maxim confesses the truth about her death. He becomes Du Maurier's version of the Fool of literary tradition, a character who speaks the truth in nonsense.
The letter R was the last to go, it twisted in the flame, it curled outwards for a moment, becoming larger than ever. Then it crumpled too; the flame destroyed it. It was not ashes even, it was feathery dust...I went and washed my hands in the basin. I felt better, much better. I had a clean, new feeling... The narrator, p. 57
The quotation occurs after the narrator has cut out the page of poetry containing Rebecca's inscription and set it alight. This image of the letter R turning to dust foreshadows the end of the novel when Manderley burns down. Although the narrator cuts out the inscription page from the book and then rips it up, she still feels Rebecca's presence; the only thing that gives her a sense of peace is setting the page on fire. In the same way, the narrator and Maxim are unable to remove Rebecca's presence from their lives at Manderley. The only way to truly destroy her and move forward from the past is the cathartic fire that burns down the estate.
I can't forget what it has done to you. I was looking at you, thinking of nothing else all through lunch. It's gone forever, that funny, young, lost look that I loved. It won't come back again. I killed that too, when I told you about Rebecca. It's gone, in twenty-four hours. You are so much older... Maxim, p. 299
This quotation is spoken by Maxim after he has revealed the truth about Rebecca's death to the narrator. Although the revelation about Rebecca allows the narrator to overcome her insecurities and achieve equal footing with Maxim, it also means the loss of her innocence. In Monte Carlo, Maxim was entranced by the narrator's innocence and purity specifically because it was so different from Rebecca's crass immodesty and sexual familiarity. Now, because of his actions, he has destroyed the narrator's most precious quality, and he has no one to blame but himself.
Her shadow between us all the time. Her damned shadow keeping us from one another. How could I hold you like this, my darling, my little love, with the fear always in my heart that this would happen? I remembered her eyes as she looked at me before she died. I remembered that slow treacherous smile. She knew this would happen even then. She knew she would win in the end. Maxim, p. 265
This quotation is spoken by Maxim after he has told the narrator the truth about Rebecca's death. It is suddenly clear the extent to which Maxim has been tortured with guilt over murdering Rebecca. The narrator had incorrectly assumed that Maxim's anguish was due to the loss of his wife, but Maxim is actually tormented by the realization that Rebecca has manipulated him into killing her. Although Maxim has strived to move on from the past -- even marrying that he loves -- he has concluded that Rebecca will never let him escape. She will achieve a final victory her body is discovered and Maxim is sent to prison as a murderer.
Sometimes, when I walk along the corridor here, I fancy I hear her just behind me. That quick, light footstep. I could not mistake it anywhere...It's almost as though I catch the sound of her dress sweeping the stairs as she comes down to dinner. Do you think she can see us, talking to one another now? Do you think the dead come back and watch the living? Mrs. Danvers, p. 172
This quotation is spoken by Mrs. Danvers during one of her first confrontations with the narrator. "Rebecca" is not a traditional ghost story: Rebecca does not roam the halls of Manderley in spirit form. Instead, she haunts Manderley in the memories of those that live there. Mrs. Danvers maintains all of Rebecca's traditions, even down to the use of the house telephone for approving menus; all of the furnishings were chosen specifically by Rebecca; even Rebecca's room is kept exactly as it was on the night that she died. Although the narrator never knew Rebecca, she is still tormented by her presence: everything in the house has a touch of Rebecca, and there is no room for anyone else.
In what ways does Rebecca exemplify the Gothic literary tradition?
• subtle or obvious use of the supernatural • individual characters who see themselves at the mercy of forces out of their control, which they do not understand • motif of the "double" - an individual with both good and evil characteristics; a house with a "good" side and a "bad" side • often involves the persecution of a young, insecure, fair-haired woman who is forced apart from her true love • hero-villains who are haunted by the past • often a secondary character with a disability will offer words of unusual insight and truth, which may be disregarded by the primary characters • a witch-like character • dream experiences • a circular structure (begins and ends at same place) • elements of death and decay, blood and violence, and fear of death • dark mysterious houses that seem to take on a personality of their own • common images: black, moon, moonlight, snakes, cobwebs, spiders, covered furniture (looks ghostly), fur, pounding seas, thunderstorms