"FANTASY" A-ND-"P-RGFHE-G¥" L-NuETM.

-F-GR~-'I'E-R
 "FANTASY" AND "PROPHECY"

IN
E.M. FORSTER

By
RAYMOND KAR-IVIAN NG, B.A.

A Thesis
Submitted to the School of Graduate Studies
in Partial Fulfilment of the Requirements
for the Degree
Master of Arts

McMaster University
September 1982
MASTER OF ARTS (1982) McMASTER UNIVERSITY
(English) Hamilton, Ontario
TITLE: "Fantasy" and "Prophecy" in E.M. Forster
AUTHOR: Raymond Kar-Man Ng, B.A. (McMaste~ University)
SUPERVISORS: Dr. A. Bishop and Dr. M. Aziz
NUMBER OF PAGES: vi, 122

ii
 ABSTRACT

In Aspects of the Novel, Forster discusses the

function and importance of "fantasy" and "prophecy",
fictional elements that play an essential role in his own
works. The object of this study is to provide a defin-
i tion of these two terms, and to apply them to an evaluat-
ion of Forster I s two most renowned novels--Howards End and
A Passage to India.

iii
For My Parents
 ACKNOWLEDGEMENTS

I wish to thank Dr. A. Bishop and Dr. M. Aziz whose

advice and guidance in their joint supervision have been
deeply appreciated.

v
 TABLE O-F CONTENTS

I. INTRODUCTION 1
Notes to Chapter I 26
II. HOlpJARDS END 29
Notes to Chapter II 59
III. A PASSAGE TO INDIA 63
Notes to Chapter III 112
CONCLUDING NOTE 117
BIBLIOGRAPHY 120

vi
 I

INTRODUCTION

1•
The rich and complex nature of Forster's fiction
has stimulated numerous critical commentaries which sub-
stantially add to the novelist's fascination. Seeking a
fair appraisal of Forster's art, many scholars turn to
Aspects of the Novel (1927), a series of lectures pre-
pared by the novelist to discuss the various ways of ex-
ploring as well as judging the works of his fellow writers
--and implicitly his own. But oddly, though critics fre-
quently employ these diverse approaches as touchstones
for Forster's own novels, two significant "aspects"--
"fantasy" and "prophecy"--have not received the close
and careful consideration that they deserve. Thus, the
object of this study is to provide a definition of these
two terms and to apply them to Forster's career, with
particular attention to his two most acclaimed novels
--Howards End (1910) and A Passage to India (1924).
That the two terms, "fantasy" and "prophecy" have
failed to receive due attention is partly Forster's
fault. He cites one literary example after another with-
out, however, adequately explaining his underlying termin-
ology. His nebulous conception in fact constitutes the
1
 2

chief blemish of Aspects of the Novel, a critical work

often praised for its wit and panache. Consequently,
scholars' notions of "fantasy" and "prophecy" widely
diverge. It is then both requisite and beneficial to
peruse Forster's illustrations in conjunction with critics'
interpretations to attain a full comprehension of these
two fictional elements.
"Fantasy," writes Forster, "implies the supernat-
ural," and it may be expressed by the introduction of gods
(Fauns and Dryads), ghosts, angels, monkeys, monsters,
midgets, witches into ordinary life, "or the introduction
of ordinary men into no man's land, the future, the past,
the interior of the earth, the fourth dimension; or divings
into and dividings of personality [slips of the memory,
verbal coincidences and puns); or finally the device of
parody or adaPtation."i Indeed, his short stories and
novels are replete with these "numinous" instances, and
w. Gilomen's effort to enumerate them is admirable. In
doing so, however, he neglects to ask, in an article in-
tended to shed light on "fantasy", the simple yet vital
2
question of its purpose and function. Let us now attempt
to remedy his omission.

2.
In Aspects of the Novel, Forster begins his dis-
cussion of the two terms wi th the following hazy though
oft-quoted passage:
 There is more in the nevel than time or people or
logic or any of the derivatives, more even than Fate.
And by 'more' I do not mean something that excludes
these aspects nor something that includes them, em-
braces them. I mean something"that cuts across them
like a bar of light, that is intimately connected
with them at one place and patiently illumines all
their problems, and at another place shoots over or
through them as if they did not exist. We shall g~ve
that bar of light two names, fantasy and prophecy.
Though censuring the novelist for failing to elucidate
his definition of "fantasy", Rudolf B. Schmerl finds that
Forster's' chapter on "fantasy" "illuminates almost all
its relevant elements".4 And he deduces from these com-
ponents that "fantasy" consists in what "contradicts our
experience, not the limited experience we can attain as
individuals, but the totality of our knowledge of what
our culture regards as real",5 and that its aim is to
allow the au thor oppor t unl't'les f or sa t'lre or d'd
l ac t"lClsm. 6
Wilfred Stone states in the more precise terms of Freudian
criticism that "fantasy", as a literary phenomenon, is a
neat record of an imaginary achievement--"the fulfillment
of a wish, a correction of unsatisfied reality".? Further,
calling Forster's short stories "pure fantasies",8 he con-
cludes his discussion of the tales thus: "Forster had out-
grown the puerility implicit in the form, and it was time
for him to be moving on." 9 There is, of course, a certain
truth in both these arguments. But since they are largely
rooted in the commentators' individual hypotheses and crit-
ical attitudes rather than Forster's own, their validity is
questionable. And Sena Jeter Naslund's objection to Stone
 4

seems just, for indeed the novelist's "interest in fantasy

persisted and matured".10 Yet strangely, in his endeavour
to demonstrate that "the prophetic and philosophical ambi-
ence of A Passage to India" is develope d through "fantasy",
Naslund overlooks the main function of the latter form: no-
where in his analysis does he clearly indicate why Forster
selects this particular mode to present his metaPhysics. 11
James McConkey is more direct and helpful in this respect.
"Fantasy", he expgunds, is a device by which the writer
achieves the creation of a backdrop distinct from phenomenal
-..........."'-•• ,,._~ •••• _'"•.n.<•.• _,.~ •• ~.• ,_> __ .,,~ .... _~ , .,-.. ~~, ~__ ~~ -~-~ ............. ~ _ _/

reality, "a mythology 'surtabIe't~·~.~9Q.riJ~~-!l.-;--'~9:·--~~_~~:.st, his

-'.m
own values ll •
"12
Thus, in plain terms, this special technique
supplies the author with as~~bo~ic framework Which para~~s

and reinforces his thematic intent. still, the method

---...._----"
requires thorough scrutiny.
A close view of Forster's chapter on "fantasyll dis-
covers that the term does not solely represent what defies
reason but denotes the welding of the real and the super-
natural. Hence, he says: "The power of fantasy penetrates
into every corner of the universe, but not into the forces
that govern it--the stars that are the brain of heaven, the
army 0 f unal t erabl e I aw, rema~n. un t ouc h e....
d II13 EI sewh ere
in his journalistic writings, the novelist adds that he
likes the idea of "fantasy", of mUddling up the "actual and
the impossible until the reader isn't sure which is which.,,14
The significance of this genre is at least two-fold. Its
 5

peculiarity, which often demands that the reader make an

additional adjustment, enables the writer both to surprise
and delight. 15 But more importantly, epitomizing the spirit-
ual, the ideal, it offers the artist the objective distance
from which to perceive the absurdities and imperfections of
reality. Sometimes, "fantasy" assumes a close relationship
with the setting, characters and action of the plot, and is
straightforwardly employed to uncover men's deficiencies,
"to illumine all their problems", as manifested in Forster's
"The Curate', s Friend" (1907) .16 Embedded in this tale is a
short story ironically told by a clergyman to dramatize his
humanistic principles. The protagonist's aspirations--
merely to appear congenial and to tend his daily duty as a
priest--subtly betray his superficiality. The turning
point of his life occurs in his chance meeting with a faun,
which induces him to recognize the intrinsic value of love
and passion, a quality generally overlooked or ignored in
a society full of deceit and conventionality. But in
some cases, "fantasy" works independently, bearing no appar-
ent connection with IItime or people or logic ll
, playing
"through them as if they did not exist", the result being
that it intensifies the welter of existence, notably in
liThe Other Side of the Hedge" (1904). This story describes
a boy's discovery of a utopia exemplifying the spontaneity
and freedom absent in a generation plagued by the monot-
ony and pettiness of meChanization and materialism. Mainly
 6

"fantasy" is a literary technique distinguished by its

double vision, its direct or indirect presentation of two
different worlds--the visible and the visionary--the con-
trast between which invariably exposes human folly. Such
an effect also manifests itself in novels that Forster
judges as belonging to this form, especially Sterne's Trist-
ram Shandy (1760-67), wherein "Muddle is almost incarnate"
and Joyce's Ulysses (1922), a modern parallel to Homer's
Odyssey. Altogether, embodying a union of "the kingdoms of
magic and common sense",17 of moral criticism and humour,
"fantasy" provides the mythology, the symbolic structure
compatible and consistent with the novelist's trenchant
vision of human experience.
Still, we need to be fairly scrupulous and stringent
In our application of what is really a rather broad and
abstract theory. Although many "fantastic" novels are dis-
cussed in Aspects as parodies or adaptations--Ulysses is a
prime example--Forster's postulation that Joseph Andrews
(1742) fits the "fantastic" mode is perhaps too arbitrary.
Indeed, the latter novel originated from Fielding's wish to
parody Richardson's Pamela (1740-41); its aut"hor "begins by
playing the fool in a Richardsonian world and ends by being
serious in a world of his own" .18 Yet, Forster does not
seem to realize that the world delineated in both of
these works is an attempt at a realistic portrayal of eight-
eenth century English society. Thus, "fantasy" and social
 7

satire are not always in~erchangeable. A facile acceptance

of Forster's definition is inexpedient and unprofitable.

Forster's definition of "prophecy" is no less

abstruse. Construed far from its ordinary meaning, it
serves neither as an agent of "foretelling the future" nor
as "an appeal for righteousness".19 Rather, it is a music-
like quality, "an accent in the novelist's voice"; its theme
is "the universe, or some thing universal", and may "imply
I---~

any of the faiths that have haunted humanity--Christianity,

Buddhism, dualism, Satanism, or the mere raising of human
._. ...,' .... ,.,',._,~,.,._.__.•. ,.«<'""'''-.c~'"._ ••."._."_....... •

love and hatred to such a power that their normal receptacles

no longer contain them •••• ,,20 Understandably, such an ar-
cane description elicits disparate scholarly responses.
W. Gilomen and Edwin Nierenberg are alike in their misunder-
standing of "prophecy". The former simply assumes it to be
the novelist's central message, his persistent opposition
of "reality" and .. sham" .21 Similarly, de spi te his sensible
analysis of the Forsterian theme of friendship and human
brotherhood, the latter fails to perceive that "prophecy"
is quintessentially a literary technique. Naslund correct-
ly points out that critics "usually reduce prophecy to
' terms
. eme 1.n
th 0 f pa tt erns 0 f 1.magery.
. 'I 22 . .1. dent1.. f y-
But 1.n
ing this aesthetic style with a "tone of voice" expressing
Forster's spiritual vision, he omits to specify precisely
the manner in which the novelist conveys this moral percept-
 8

ion. His ready espousal of Forster's terminology that the

prophet "sings" does not help to clarify the issue. 23 Stone
takes "prophecyll to be the "bardic influence" that conjoint-
ly works with Forster's comic strain to attain a IInoumenalll
vision, to "realize the spirit embedded in [the phenomenal
world] II, the effect of which "argues the compatibility of
human and absolute values, and provides meeting-places for
the dualisms of his esthetics and his art". 24 Stone's ex-
plication is unfailingly elaborate and learned, but also
egregiously contrived and ponderous, causing us to wonder
how germane his theory is to Forster's notion of "prophecy".
McConkey is equally shaky in suggesting that "prophecy" is
the representation of a mythology based on "a mingling of
physical reality with some universal element", and that the
"prophetic ll writer does so not by making a direct statement
about the world he conceives, but by merging both his char-
acters and readers into it IIthrough the power of his voice",
through the mystical qUality of that voice and the accent it
possesses. 25 Here the critic gives little indication as to
the true nature, cause and effect of Forster's term. These
questions, crucial to our understanding of IIprophecyll, be-
come our immediate concern.
We can best understand IIprophecyll by considering it
in association with its kin-- lI fantasyll. The enlivening
spirit of these two modes is prominent in Forster's de-
scription: liAs I said of the fantasist, [the proPhet] manip-
 9

ulates a beam of light which occasionally touches the ob-

ject so sedulously dusted by the hand of common sense, and
renders them more vivid than they can ever be in domestic-
i ty. ,,26 Yet, the two perform their roles in significantly
different ways. The one shocks by introducing the improb-
able; the other does so in terms of "the strangeness of
song arising in the halls of fiction".27 The prophet's
lyrical turn is rooted in the nature of the material he
wishes to convey. By and large, "prophecy" is a superior
style to "fantasy". The latter illumines, but in a limited
fashion (i.e., it "glances about,,).28 Though it graphically
unfolds man's inadequacy by juxtaposing the spheres of the
actual and the ideal, it lacks a comprehensive view of hum-
anity, of its value and position in the universe. The
former, composed in an even remoter emotional state than
II fantasy", tends towards an unifying vision (i. e. it "reaches
back,,):29 it endeavours to express the novelist's outlook
on life by portraying the relationship between the mortal
world and the infinite, between human experience and its
larger ramifications. Like "fantasy", the "prophetic"
spirit sometimes expresses itself in the landscape, charac-
ters and their interactions, as evident in the impact of
Aziz's arrest (for attempted rape) on Fielding in A Passage
to India. The episode depicts Fielding's view of the
Marabar Hills, the spot where the incident occurs, which
leads to the schoolmaster's questioning of his personal
 10

achievement as a human being, and his realization of human

Vulnerability and puniness. At other times, this revelatory
force assumes dominance in the foreground, rendering the
people and events almost irrelevant. Mrs. Moore's depart-
ure from Chandrapore in A Passage is illustrative. The
scene of Asirgarh imparts to her the expansiveness of India,
hinting that her jUdgement of existence based on the Mara-
bar incident is not final. Such a mystical landscape also
bespeaks the awesomeness of the elemental domain, and con-
sequently man's partial understanding, his incapability of
fully comprehending the ultimate reality.
It is thus obvious that poetic representation
chimes in with the nature of "prophecy", a serious and
lofty form which often incurs the reader's "humility"--his
respect--and the "suspension of the sense of humour".3 0
Even more remarkably, it serves ~s a forceful medium prompt-
ing the reader's intuitive identification of the writer's
universal perspective, eliciting "the sensation of sinking
into a transparent globe and seeing our experience float-
ing far above us on its surface, tiny, remote, yet ours".:31
This subtle influence, emanating from the novelist's compre-
hensive vision, his attempt to capture a glimpse of the
purpose of life through exploring beyond physical reality
to the transcendental realm, is a rare gift claimed by very
few writers. In Aspects, Forster extensively alludes to
Dostoyevsky, who shows us that "unity through love and pity"
 11

occurs in a region in fiction "which can only be implied,,3 2

and Melville, who demonstrates his conception of evil by
reaching straight back, "after the initial roughness of his
realism ll , II into the universal, to a blackness and sadness so
transcending our own that they are undistinguishable from
glory... 33 Hardy and Conrad do not make the grade for, de-
spite their poetic language, they are too moralistic; they
cast limiting philosophical re flections on life and things", II

a role incongruous with the prophet's nature. 34 And in

this sense, they are inferior to Lawrence who, apart from
his moments of didacticism, is able to evoke the individ-
uality and vitality of existence by "irradiating nature
from wi thin" •35 Pre~dominantly,
/ ' .....
II
"'"
prophecyll provides the
.,_.""""-'

means by which the.n9velist creates a symbolic network, a

•• - ' ' •• ' ",. '--'. -. +

mythology eliciting the reader's instinctive grasp 'of-Ii-rs

------------------- -------_.-------------_
... ..~._-----_ ..__ .-_._... _~-_ ... -.-~~_.-_.--

world vision through poetic communication.

4.
Critics have acknowledged Forster's stylistic
evolvement--his shift from the "fantastic" mode to the
"prophetic ll • This development, however, does not imply
that he composes two altogether different types of novels,
but that he gradually emphasizes the latter perspective more
than the former in his works. His short stories and pre-
war novels (save for Howards End) are basically "fantastic".
Yet, the "prophetic" strain latent in Forster's early fict-
ional writings reveals itself more and more and develops
 12

into a dominant force in A Passage to India. Further, we

see in this post-war novel not the elimination of "fantasy",
but its maturation. Prior to A Passage--particularly in the
tales--this magical force figures almost obtrusively (common-
ly in the shape of a deity or some paradise), serving as a
corrective to the defectiveness of society; it is superfic-
ially edifying but more often didactic. Dramatized in a
more realistic context, "fantasy" takes on a more subtle
guise in A Passage, integrating with "prophecy" to present
Forster's ontological perception. By way of this numinous
influence, the novelist handily discloses the relationship
between the human sphere and the transcendent reality.
Though less sophisticated, the early novels prepare for the
complexity of Forster's masterpiece--A Passage to India. A
brief view of them is thus worthwhile. With its theme of
homosexual love, subject matter broadly different from that
of the other novels, Maurice (1914, first published 1970)
remains outside the province of our discussion. And though,
in order of publication, A Room with a View (1908) is Fors-
teres third novel, it is perhaps the earliest conceptually,
since the novelist drafted a large part of it in 1903. 36
For this reason, we shall begin our survey with this comedy.
Widely regarded as the sunniest and most light-
hearted of Forster's novels, A Room with a View shares the
theme of love and truth with many of the tales such as "The
Curate's Friend", "The Eternal Moment" (1905) and "The
 13

Story of the Siren" (1920). The novel centres upon Lucy

Honeychurch's struggle to perceive the import of marriage
through her choice of George Emerson over Cecil Vyse, her
preference of passion and spontaneity to intellectual snob-
bery and conventional morality, values which her lovers
embody respectively. Of course, what deepens the books' en-
chantment is, as both Stone and Lionel Trilling indicate,
the "prophetic" element that lurks behind its simple, ex-
hilarating story.3? Lucy's ultimate discovery of her true
feelings for George ensures her spiritual salvation; it
rescues her from the danger of damnation in the form of
celibacy ,from yielding to the "armies of the benighted"
that "have sinned against passion and truth".3 8
But for all its gaiety and brightness, A Room with
a View is not Wholly satisfying. Its major problem lies in
Forster's handling of the relationship between Lucy and
George, a connection on which the meaning of the novel
rests. The novelist's criticism of his age--his unmasking
of the superficiality and smugness of modern English soci-
ety--mostly constructed around the interplay between Cecil
and Lucy, emerges emphatically in the book. His timidity
(evidenced by the embarrassed kiss he offers Lucy a few
days after their engagement), his intolerance (shown in the
superior attitude he holds towards Lucy's mother and her
friends) and his misconception of culture and art (implied
in his complacent confession to Freddy, his fiancee's broth-
 14

er, that he is an academic rather than an athlete)--all

exemplify Cecil's "asceticism", his self-defensiveness,
sham respectability and sterile pedantry. The dissolution
of the betrothal symbolizes Lucy's final resolution to com-
bat the "vices" corresponding to an essentially bourgeois
culture, a repressive system of which Cecil is a victim.
Conversely, Forster's ideal of sincerity and understanding,
of the enlightenment and freedom of the soul, based on the
union of Lucy and George, only barely registers. We do
learn of George's vibrancy and candour--but only meagrely.
For the novelist fails to develop his characters and action
to the fullest effect. George's divulging of his love for
Lucy is a case in point:
'You say Mr. Vyse wants me to listen to him, Mr.
Emerson. Pardon me for suggesting that you have
caught the habit.'
And he took the shoddy reproof and touched into
immortality. He said:
'Yes, I have,' and sank down as if suddenly weary.
'I'm the same kind of brute at bottom. This desire
to govern a woman--it lies very deep, and men and
women must fight it together before they shall enter
the Garden. But I do love you--surely in a better
way than he does.' He thought. 'Yes--really in a
better way. I want you to have your own thoughts
even when I hold you in my arms.' He stretched them •
towards her. 'Lucy, be quick--there's no time for us
to talk now--come to me as you came in the spring,
and afterwards I will be gentle and explain. I have
cared for you since that man died. I cannot live
wi thout you. "No good, II I thought: "she is marrying
someone else"; but I meet you again when all the
world is glorious water and sun. As you came through
the wood I saw that nothing else mattered. J9called.
I wanted to live and have my chance of joy.'
For an individual desperately trying to dissuade his love
 15

fromcommit-ting herself 'to his rival, George is commendably

articulate and persuasive. Yet, he is decidedly too fluent,
too discriminating to be spontaneous. Highly admonitory
and somewhat overwrought, the passage represents George as
not so much an ardent lover as an earnest preacher promulg-
ating the faith of Eros and Pallas Athene. In general, the
attachment between Lucy and George is, in Leavis' words,
"stated but not convincingly cOnveyed".40 And Forster's
realism--his assessment of modern civilization--jars with
his symbolism--his conception of an orderly and meaningful
existence. A Room with a View is rather callowly fantastic.
Where Angels Fear to Tread (1905) is somewhat more
subtle. In theme, it runs close to A Room, celebrating
the naturalness and creativity of passion, of elemental
love, as opposed to the rigidity and mechanicalness of a
prudish morality. The dichotomy between appearance and
reality, the vital conflict upon which A Room is structured,
is similarly portrayed in Angels, only this time Cecil--the
epitome of the English middle-class mentality--is supplanted
by the Herritons of Sawston, and George--the image of an
impassioned spirit of an "Italian" temperament--is super-
seded by Gino of Monteriano. Primarily, Where Angels Fear
to Tread is a story of the growth of Caroline Abbott and
Philip Herriton, as well as their quest through disillusion-
ing and stultifying experience to the achievement of self-
knowledge.
 16

In so far as the realization of the novelist's

thematic purpose is concerned, Angels is more effective
than A Room. The tension between truthfulness and hypocrisy,
dramatized through the juxtaposition of Sawston and Monter-
iano, surfaces sharply in the novel. The inhibitive and en-
ervating effect of the Sawstonian culture is subtly evoked
through the Herritons' warped sensibility. It finds express-
ion in Philip's priggishness--his general scorn of the people
and things around him--and in his mother's "petty unselfish-
nesstl--her complacency and dogged adherence to decorum
evidenced in her ludicrous attempt to retrieve the child of
Gino, to whom Lilia, her late daughter-in-law, was married.
In much the same way he manages A Room, Forster furnishes
Angels, principally a comedy of manners, with a philosoph-
ical dimension--only more overtly and even brutally. The
danger of modern alienation acutely betrays itself in the
insensitivity and bigotry of Harriet, Philip's sister, who
becomes the agent of death in executing her mother's plan
to Ilrescue --or kidnap--her nephew from Gino.
ll
Like A Room,
Angels dips into the larger concern of the principle of
existence, of spiritual rebirth.
The world of Monteriano, the antithesis of Sawston,
is equally well-painted. We appreciate this home of passion
and vitality mainly through our perception of Gino, and
particularly 'his relationship with Philip Herriton and
Caroline Abbott, Lilia's crony determined to discharge her
 17

moral obligation by bringing the Italian's baby to England

to be properly re.ared. Surely, Gino succeeds better than
George Emerson, his counterpart in A Room, in performing
his symbolic role; his deeds are believable for they are no
pure, unworldly achievements but those of a human being
graced with a divine gift. Beyond the fas:ade of his crass-
ness and vulgarity lies a fervent, glowing young man capable
of profound love. Upon the news of his son's death, he
releases his rage by thrashing Philip, who assumes respons-
ibility for the whole accident. Yet, he gives way to com-
passion and forbearance, in response to Caroline's reminder
of the inanity of his cruel revenge. The tenderness which
Caroline has previously discerned in him as he bathed his
son again surges forth, inducing 'his reconciliation with
Philip. Altogether, Gino has a great impact on both of these
English characters:
The peril was over at last. A great sob shook the
whole body, another followed, and then he gave a
piercing cry of woe, and stumbled towards Miss Abbott
like a child and clung to her.
All through the day Miss Abbott had seemed to
Philip like a goddess, and more than ever did she seem
so now •••• Her eyes were open, full of infinite pity
and full of majesty •••• Her hands were folded round
the sufferer, stroking him lightly, for even a god-
dess can do no more than that. And it seemed fitting,
too, that she should bend her head and touch his'
forehead with her lips.
Philip looked away, as he sometimes looked away
from the great pictures where visible forms sudden-
ly become inadequate for the things they have shown
to us. He was happy; he was assured that there was
greatness in the world. There came to him an earnest
desire to be good through the example of this good
woman. He would try henceforward to be worthy of the
 18

things she had revealed. Quietly, without hysteri-

cal prayers or banging ~f drums, he underwent con-
version. He was saved.
The scene underlines Caroline's spiritual transfiguration,
which would have been impossible without her meeting Gino.
Their association, culminating in her realization that the
Italian is actually a loving father, serves to remove her
from the bounds of parochial Saws ton to embrace the emot-
ional vi tali ty characteristic of Monteriano. No longer a
receiver but a giver, Caroline here matures and becomes in
Philip's eyes a charitable goddess. This metamorphosis
affirms Philip's spiritual regeneration. The vision of
Caroline's goodness marks his change from apathy to a deep
awareness of the purpose of life. The characters' growth
in understanding, arising out of their affiliation with
Gino, connotes Forster's lucid integration of the real and
the symbolic. For the most part, Where Angels Fear to
Tread is credible Itfantasy".
Weighed against Forster's Italian novels, The Long-
est Journey (1907) is incontestably more ambitious. The
Forsterian concept of "reality" --the notion of self-fulfill-
ment--again becomes the central preoccupation of what is
·commonly considered the novelist's most autobiographical
book. In demonstrating this principle, both A Room and
Angels partake of a conflict, which expresses itself in
the form of a search toward the distinction between falsity
and truthfulness, the choice of light (a view) over darkness
 1-9

(a room), sentiment (of fools) over impersonality (of angels).

The Longest Journey not only embodies this process, but
seeks to explore its implications. "Reality" in this book
thus assumes a more universal posture: it comprises the
recognition and acknowledgement of the flux and stability
exemplifying the nature of existence, the knowledge not of
good and evil, but of good-and-evil. The Longest Journey
essentially depicts the struggle of Rickie Elliot to live
by the truth of "the wine" while being immersed in the "know-
ledge of the world".42
Fairly obviously, Journey shows a stronger "proph-
e tic" drift than the I tal ian novels. Indeed, the violent
death of Gino's baby in Angels, the outcome of Harriet's
obduracy, betokens the peril of modern sterility. Yet such
a menace hardly threatens utterly to overturn the world of
the novel. Representing a social error rather than a crime,
the child's death is as an unlucky accident in what is
otherwise a social comedy.43 The Longest Journey attempts
to demonstrate Forster's humanistic creed with even greater
urgency and intensity. The humbug of middle-class convent-
ion manifests itself again through the world of Sawston, a
place distinguished by its mean-spiritedness, literalism
and barren intellectualism, wherein Rickie, the protagonist,
becomes corrupted and abandons the Cambridge values he
originallyholds--friendship, intelligence and free thinking.
His spiritUal reawakening begins with his settlement in the
 20

Wiltshire countryside, an abode of vigour and spontaneity

into which Stephen Wonham, Rickie's half-brother, is integ-
rated. Yet, the influence of Sawston is damaging to the
extent that Rickie not only fails fully to recover but is
finally destroyed. Coming out of a rather weary sense of
duty rather than a burning desire to rescue his brother
from being hit by a train, Rickie's resolution to die for
Stephen indicates his personal disillusionment with life.
Yet in a sense, the protagonist's loss is an indefinite
promise of fulfillment. His death implies his submission
to a larger humanistic spirit, and generates the positive
effect of redemption in terms of Rickie's survival: it
ensures the continuance of man's intrinsic loving nature,
the sole source of resistance to the threat of modern
1.14
materialism, the hope of "the future of our race". . The
Longest Journey is an original aesthetic creation indicating
Forster's new inclination to "prophecy".
The novel, however, is not an entirely successful
work of art. In general, it misses the structural coherence
of Where Angels Fear to Tread. There are, of course, plen-
ty of splendid moments in Journey, and they usually occur
as a result of Forster's proficient mastery of social com-
edy in evincing the oppressive morals of Saws ton. The
essentially unimaginative, constraining climate of the
place finds vivid expression in Herbert Pembroke--Rickie's
brother-in-law and headmaster of Saws ton school--particular-
 21

ly in his constant battle wIth the day-boys. Consider Pem~

broke's oration at the school assembly. Deflating him

from eloquence to banality, the scene, as John Harvey re-
marks, attests to Forster's genius as IImaster of irony by
juxtaposition,,:4.5
He told them that this term, the second of his reign,
was the term for Dunwood House; that it behooved
every boy to labour during it for his house's honour,
and through the house, for the honour of the school.
Taking a wider range, he spoke of England, or rather
of Great Britain, and of her continental foes. Port-
raits of empire-builders hung on the wall, and he
pointed to them. He quoted imperial poets •••• And it
seemed that only a short ladder lay between the prep-
aratioij6room and the Anglo-Saxon hegemony of the
globe. .
And Agnes Elliot's homespun exhortation to her husband is
equally "felicitous". It exemplifies the grinding system
with which the Pembrokes (Agnes is Herbert's sister) ident-
ify, a materialism that deprives the individual of his
identi ty. By urging Rickie to pursue- the cause of "hard
uncongenial work", Agnes actually directs him to the path
of alienation:
To do good! For what other reason are we here?
Let us give up our refined sensations, and our com-
forts, and our art, if thereby we can make other
people happier and better. The woman he loved had
urged him to do good! With a ven7mence that surprised
her, he exclaimed, "I'll do it. 1I
In essence, Agnes' imposition of her ideal pattern upon
Rickie symbolizes an act of tyranny, a curb to freedom.
And her rather Victorian interpretation of work as an end
rather than as a means towards personal integrity implies
her purblindness, her contorted perception of reality.
 22

But the most troublesome blemish of Journey is

Forster's failure to sustain his novel on the same level of
verve and energy in conveying his moral intention as he does
in demonstrating his insight into social ills. The novel-
ist's vital principle is never truly brought to imaginative
life. On the whole, Stephen Wonham is a pale embodiment of
the norm against which the value of everyday living is test-
edt Endowed with" coarse kindliness and rustic strength",
he figures as a model of sincerity, breaking through the
pretenses, sordidness and humdrum of bourgeois mediocrity.48
Yet, he functions not as a mere emblem but as a human char-
acter given to little vices: Forster takes care to avoid
the danger of idealization by emphasizing his surliness,
impetuosity and erratic insensitivity which, at times, de-
generates into brutality, as evident in Stephen's persistent
desire to inflict torture upon a shepherd for his breach of
trust. Of course, the churlish hero reminds us of Gino in
Where Angels Fear to Tread. But while the latter's barbar-
ism springs from his passionate valuation of life and things
--particularly his baby--and is tempered with a keen sense
of sympathy,4 9 the former's is caused by his willfulness.
Though Rickie's judgement is not always sound (a result of
his flawed sensibility), we do acknowledge that there is,
at least, a certain truth in the impression he conceives of
his brother:
The boy had a little reminded him of Gerald [a fer-
ocious and caddish footballer]--the Gerald of history,
 2}

not the Gerald of romance. He was more genial, but

there was the same brutalit~~ the same peevish insist-
ence on the pound of flesh.
Stephen's obstinacy shows Forster's piercing sense of good-
and-evil, his penetration into the complexity, and inconsist-
ency of human nature. Nonetheless, the boorish ploughboy
outrages middle-class gentility at the expense of 'his moral
status, thus overturning the novelist's original purpose.
To some degree, Stephen's volatile temper dims our vision
of the positive values he embodies.
Likewise, Forster's confusing symbolism greatly
weakens the "prophetic" effect that he desires to achieve
in Journey. In other words, the novel represents an abortive
attempt to reveal his ontological vision--human integrity
through love and sympathy--through lIfantasy". John Harvey
severely censures the episode describing Rickie's sudden
revelation, his insight into the worth of existence through
discerning the love that exists between Gerald and Agnes. 51
Admittedly, Forster fails to do this mystical scene justice
by allowing Rickie to disclose its symbolic meaning through
speculative rambling rather than genuine poetic evocation.
Further, the generally affected and grandiose language
overstates the import of the passage--the realization of "a
moment of intense awareness of personal experience".5 2 An
even more flagrant example of this kind occurs in the con-
cluding chapter of the middle section of the novel. It
comprises the narrator's comment on the preceding incident
--Rickie's mental breakdown- at the denunciation of him by
Ansell, the Cambridge philosopher, for denying his brother.
Dealing purely in abstractions, without making the slightest
reference to the drama illuminating the moment of Rickie's
self-awareness, the intervention of the authorial voice
appears awkward, if not entirely out of place:
The soul has her own currency. She mints her
spiritual coinage and stamps it with the image of
some beloved face. With it she pays her debts, with
it she reckons, saying, "This man has worth, this man
is worthless." And in time she forge ts its origin;
it seems to her to be a thing unalterable, divine.
But the soul can also have her bankruptcies.
• • • • • • • • •• • • • • •• • • • • • • • • • •
There is, indeed, another coinage that bears on
it not man's image but God's. It is incorruptible,
and the soul may trust it safely; it will serve her
beyond the stars. But it cannot give us friends, or
the embrace of a lover, or the touch of children, for
with our fellow-mortals it has no concern•••• Have we
learnt the true discipline of a bankruptcy if we turn
to such coinage as this? Will it really profit us
so muc~3if we save our souls and lose the whole
world?
The overall assertive tone and the closing rhetorical quest-
ions fully betray the didacticism of this allegorical de-
scription. Here manifestly, Forster intrudes not as a
prophet but as an eager moralist upholding the principle of
spiritual well-being through mutual understanding. Besides,
the discourse shares the stylistic defects of the formerly
mentioned key passage. Its expressions are so often
stilted and strained that they sometimes slide into the
ludicrous, thereby perverting the novelist's intention to
present his metaphysical preoccupations. Conscious of the
difficul ty of mastering the technique of "prophecy"--the
 25

poetic evocation of the author's conception of reality,

the representation of the link between the human world and
the infini te--Forster laments in Aspects of the Novel: "It
is a pity that Man cannot be at the same time impressive
and truthful. ,,54 He fails to realize this ideal in The
Longest Journey. still, he continues his quest in Howards
End.
 NOTES

l E•M• Forster, Aspects of the Novel (Middlesex:

Pelican, 1970), pp. 117-118.
2W• Gilomen, "Fantasy and Prophecy in E.M. Forster's
Work", English Studies, XXVII (1946), 92-112.
3Forster, Aspects, p. 112.
4Rudolf B. Schmerl, "Fantasy as Technique", Virginia
Quarterly Review, 43 (1966), 644.
5Ibid., p. 645.
6Ibid., p. 647.
7Wilfred Stone, The Cave and the Mountain (Stanford:
Stanford University Press, 1966), p. 124.
8Ibid ., p. 160.
9Ibid., p. 161.
10Sena Jeter Naslund, "Fantasy, Prophecy, and Point
of View in A Passage to India", SNNTS, 7 (1975), 259.
l l Ibid ., p. 259.

12James McConkey, The Novels of EoM. Forster (Ithaca:

Cornell University Press, 1957), p. 470
13Forster, Aspects, p. 116.
14 , "A Book that Influenced Me" in Two
Cheers for Democracy (Middlesex: Penguin, 1976), p:-230.
15 , Aspects, p. 114.
16All the short stories referred to in this chapter
are from The Collected Tales of E.M. Forster (New York:
Alfred A. Knopf, 1947).
17Forster, Aspects, p. 121.
18 Ibid ., p. 125.
19 Ibid ., p. 129.
26
 27

2°-J:bid., p. 20.
21Gilomen, "Fantasy and Prophecy in E.M. Forster's
Work", p. 106.
22Naslund, "Fantasy, Prophecy, and Point of View in
A Passage to India", p. 259.
23 Ibid ., p. 274.
24Stone, The Cave and the Mountain, pp. 117-118.
25McConkey, The Novels of E.M. Forster, pp. 46-47.
26Forster, Aspects, p. 139.
27 Ibid ., p. 129.
28 Ibid ., p. 14o.
29 Ibid ., p. 140.
30Ibid., p. 13°.
31 Ibid ., p. 138.
32Ibid., p. 139.
33 Ibid., p. 137.
34L1:-..,
-b· d p. 141 •
35Ibid., p. 147.
3 6E•M• Forster, A Room with a View, ed. Oliver
Stallybrass (Middlesex: Penguin, 1978), p. 8.
37See Stone, The Cave and the Mountain, p. 217;
Lionel Trilling, E.Mo Forster (New York: New Directions,
1943), p. 97.
38Forster, A Room, p. 194.
39 Ibid ., pp. 186-187.
40F •R• Leavis, The Common Pursuit (London: Chatto &
Windus, 1952), p. 263.
41 E•M• Forster, Where Angels Fear to Tread (New York:
Vintage, 1920), pp. 172-173.
42
--------, The Longest Journey (New York: Vintage,
 28

1962), p. 66.
43Stone, The Cave and the Mountain, p. 162.
44Forster, Journey, p. 310.

45John Harvey, "Imagination and Moral Theme in E.M.

Forster's The Longest Journey", Essays in Criticism, VI,
No. 4 (1956), 429.
46Forster, Journey, p. 171.
47 Ibid ., p. 166.
48 Ibid ., p. 208.
49Trilling, Forster, p. 73.
50Forster, Journey, p. 115.
51Harvey, "Imagination and Moral Theme in E.M.
Forster's The Longest Journeyll, p. 431.
52Ibid., p. 431.
53Forster, Journey, pp. 245-246.
54 , Aspects, p. 150.
 II -

HOWARDS END

1.
Howards End is crucial to our understanding of For-
ster's art. The significance of the novel lies in its far-
reaching vision and sophisticated craft, unparalleled in
Forster's work before A Passage to India. The conflict be-
tween spiritualism and materialism, art and science, passion
and intellect, the outer physical world and the inner life--
the novelist's central preoccupation which, in his first
three novels, results in the easy rejection of one set of
values in favour of another--resolves itself in Howards End
into a reconciliation of these opposites. Such a develop-
ment arises out of Forster's mature recognition of the com-
plexity of reality in which these seemingly antithetical
moral issues are not only related but interdependent. Like-
wise, Howards End is stylistically more intricate than its
predecessors. The early novels share an affinity in their
attempt to underscore the Forsterian notion of the human im-
agination through a mythological framework in which fantasy
plays a prominent role. The spirit of the supernatural,
though pervasive in Howards End, is more subtly present.
Forster makes a considerable effort to transmit this pecul-
iar force through an elaborate symbolism built around the
29
 30

setting, characters and acti~n, all of which express the

theme of sympathy and love achieved through "prophecy"--an
intuitive grasp of transcendental experience. Our main con-
cern here is to evaluate Forster's success or failure in his
attempt to render his message by integrating theme and tech-
nique--that is, whether he integrates the two elements of
"fantasy" and "prophecy" with the central message of univers-
al brotherhood.
The setting of' Howards End--the house itself--epitom-
izes the clash between modern social conventions and freedom
of the soul. The importance of this recurrent metaphor lies
primarily in its unifying function: the novel commences at
Howards End and concludes there. Even though the setting
varies in the course of the story, the house acts as a spir-
it that hovers over the moral landscape of the characters.
Apart from creating structural symmetry, this extended image
also enables Forster to achieve thematic unity. Like the
other major symbols in the novel, Howards End is expansive;
every time it reappears, it encompasses an added meaning.
The contrast between the visible and the invisible embodied
in Howards End evolves, through the process of the characters'
spiritual maturation, into a marriage of these contraries.
Thus, the mysterious influence of the house transforms Mar-
garet Schlegel from a theorist of personal relations into an
active participant. The enchanted milieu of Howards End
provides the background for the author's mythopoeic vision.
 }1

The opening of Howards End, a letter from Helen

Schlegel to her sister, Margaret, vividly underlines the
steadfastness and peace that the old dwelling exemplifies.
Reflecting the freshness and vitality of its pastoral envi-
ronment, the house constitutes the source of strength and
spontaneity that its owner, Ruth Wilcox, embodies. She is a
part of the landscape, as organic to it as the house or the
surrounding hayfield:
The house is covered with a vine. I looked out
earlier, and Mrs. Wilcox was already in the garden.
She evidently loves it. No wonder she sometimes
looked tired. She was watching the large red pop-
pies. Then she walked off the lawn to the meadow,
whose corner to the right I can just see. Trail,
trail, went her long dress over the sopping grass,
and she came back with her hands full of hay that
was cut yesterday--I suppos~ for rabbits or something,
as she kept on smelling it.
This picture of rural stability offers a sharp as well as
deliberate contrast to the discordant image that almost im-
mediately follows--the continual flux of urban London. For-
ster describes Wickham Place, where the Schlegels reside, as
fairly quiet, for a lofty promontory of buildings
separated it from .the main thoroughfare. One had the
sense of a backwater, or rather of an estuary, whose
waters flowed in from the invisible sea, and ebbed
into a profound silence while the waves without were
still beating. Though the promontory consisted of
flats--expensive, with cavernous entrance halls,
full of concierges and palms--it fulfilled its pur-
pose, and gained for the older houses opposite a
certain measure of peace. These, too, would be swept
away in time, and another promontory would arise upon
their site, as humanity piled itse~f higher and high-
er on the precious soil of London.
Thus, Forster's principal objective is clear from the out-
set. Not only does he intend to examine the nature of modern
 32

existence, but Forster desires also to convey his vision

which derives from the juxtaposition between city and count-
ry, from the difficult question whether the ideal of order
-~an old civilization rooted in soil--can survive the barbar-
ism of the Age of Property.
Of course, the city-country dichotomy is a common
notion in literature, essentially descending from the class-
ical models of Juvenal and Horace. But, rather than merely
perpetuating this conception, Forster endows it with mystic-
al significance. The key to Howards End lies in our proper
understanding of the connection between the house and its
mistress. To Ruth Wilcox, Howards End is no ordinary abode,
but a spiritual home. In her complete identification with
the place, she resembles a goddess inhabiting "the Holy of
Holies". Together they serve as a touchstone for the rest
of the characters whose salvation hinges on their realization
of the true worth of the house.
The author artfully--perhaps too arbitrarily--dis-
tinguishes Ruth from the rest of the Wilcoxes, whose incom-
patibility with the bucolic setting is illustrated through
an extensive symbol inseparable from the house--the hay.
As E.K. Brown suggests. "response to the hay ••• is an index
to value in a character.,,3 It is mainly through this image
that we see the mystical relationship between Ruth Wilcox
and her dwelling. Similarly, the Wilcoxes betray their im-
penetrable literalness through their hay-fever. Business-
 33

minded, they live in a world o.! "telegrams and anger", tot-

ally unsusceptible to the unseen. Their conventional, prac-
tical and commercial outlook emerges most conspicuously with
the death of Ruth Wilcox. Insensitive to her motives, they
ignore her will that Howards End be bequeathed to Margaret
Schlegel, whom they consider an outsider. The authorial
voice deliberately, and somewhat clumsily, intervenes to
elaborate on their superficiality in contrast with the whole
numinous landscape:
Ought the Wilcoxes to have offered their home to
Margaret?- I think not. The appeal was too flimsy.
It was not legal; it had been written in illness,
and under the spell of a sudden friendship; it was
contrary to the dead woman's intentions in the past,
contrary to her nature, so far as that nature was un-
derstood by them. To them Howards End was a house;
they could not know that to her it had been a spirit,
for which she sought a spiritual heir. And--pushing
one step further in these mists--may they not have
decided even better than they supposed? Is it cred-
ible that the possessions of the spirit can be be-
queat~ed at all? Has the soul offspring? A wych-
elm tree, a vine, a wisp of hay with dew on it--can
passion for such things be transmitted where there
is no bond of blood? No; the Wilcoxes are not to
be blamed. The problem is too terrific, and they
could not even perceive a problem. No; it is nat-
ural and fitting that after due debate they should
tear the note up and throw it on to their dining-
room fire. The practical moralist may acquit them ab-
solutely. He who strives to look deeper may acquit
them--almost. For one hard fact remains. They did
neglect a personal appeal. The woman who had died
did say t0 them, 'Do this,' and they answered, 'We
will not.' 4
This is the voice of the preacher, not the prophet. Rapt in
his mysterious vision of the infinite, the prophet leaves it
to others to interpret his iconography. In Howards End,
Forster all too eagerly unravels his own symbols. As in the
 34

passage above, much mythic resonance is lost in the course

of dilation.
If the Wilcoxes are the builders of Ruth's temple
(having supplied the economic wherewithal), the Schlegels
are its worshippers. English descendants of a naturalized
German who turned against Germany's imperialism and mater-
ialism, the Schlegels have been brought up to be cultivated
intellectuals deeply interested in art, literature and human
relations--Bloomsbury beliefs to which Forster is seriously
committed. More emancipated both morally and intellectually
than the Wilcoxes, the Schlegels readily fall under the spell
of Howards End. That Margaret and Helen are upholders of
truth, of the inner life, is seen in their appreciation of
both the hay and its counterpart, the wych-elm.
During her stay at Howards End, Helen never ceases
to marvel at the beauty of its scenery. And it is under the
wych-elm that she kisses Paul Wilcox, the youngest son of
the family, against a landscape vaguely fabulous, full of
the "danger of surprise and light". 5 The poetry of that
moment, her receptiveness to passion evoked through the
tree of love, certainly place her among the "saved". Yet,
because of ·her reckless emotionalism and unthinking reject-
ion of the material, she has to travel a long way before
she discovers the genuine meaning of Howards End.
A more balanced person than Helen is her sister,
Margaret. And it is she who eventually inherits Ruth's beni-
 35

fice. Though not beautiful or supremely brilliant, Margaret

is distinguished by her "profound vivacity, a continual and
sincere response to all that she encountered in her path
through life".6 A remarkable sobriety and judiciousness
co-exists with an equally remarkable sense of the infinite
which draws her closer to Mrs. Wilcox in spirit. The separ-
ation of Paul and Helen causes a rift between the two famil-
ies. But Margaret soon resumes friendship with the Wilcoxes
when they move to London shortly after the crisis. Although
Margaret has not the opportunity to see Howards End until
late in the novel, she is intuitively well aware of and fam-
iliar with the place. She has little trouble accepting
Ruth's curious story about the medicinal power of the pig's
teeth in the bark of the elm. Her trust in the magical tree,
in turn, clears up her misunderstanding with Mrs. Wilcox,
so that she gains intimate knowledge of her friend and her
sacred bond with the country home. Their friendship culm-
inates in Ruth's proposal that Margaret visit Howards End.
Yet, the trip never materializes. However highly she prizes
personal intercourse with Ruth, Margaret is inexperienced.
She must develop both the prose and the passion in her own
life. Like Helen, she needs to find her way to Howards End.
The only Schlegel who does not participate in this
pilgrimage is Tibby. Young, intelligent, yet somewhat acad-
emic and effeminate, he reminds us of Philip Herriton in
Where Angels Fear to Tread. Caught up in his scholastic pur-
 36

suits, he lives in some ivory tower remote from the world

of human affairs. His tedious pedantry--his excessive com-
mitment to the intellect at the expense of spontaneous em-
otion--fosters in him a frame of mind just as limited and
sterile as the Wilcoxes'. That Tibby is fundamentally sim-
ilar to his supposed opponents is shown by his allergy to
hay. This symptom, which most of the men in the novel suf-
fer from, enhances the major theme--the tension between
rationality and intuition.
This conflict finds expression in Margaret's fulfill-
ment of her role as Ruth's spiritual successor. Through her,
the ultimate purpose of Howards End is revealed. Unquest-
ionably, the house, like human existence, comprises more
than the merely physical. It cannot stand without bricks
and mortar; yet, it does not stand by them alone. Such a
lesson Margaret learns from Mrs. Wilcox before her death.
Enlightened, the disciple sees that her responsibility in
life is, as she advises Helen, not to brood too much "on the
superiori ty of the unseen to the seen", 7 and, above all, not
to differentiate the opposites, but integrate them:
Only connect! That was the whole of her sermon.
Only connect the prose and the passion, and both
will be exalted, and human love will be seen at its
highest. Live in fragments no longer. Only connect,
and the beast and the monk, robbe~ of the isolation
that is life to either, will die.
The house, however, is not limited to the individual
level. Its social dimension discovers itself when Margaret
.
sojourns at Howards End for the first time. Admittance to
 37

Ruth's shrine broadens her w~rld perspective:

The sense of flux which had haunted her all the year
disappeared for a time. She forgot the luggage and
the motor-cars, and the hurrying men who know so
much and connect so little. She recaptured the
sense of space, which is the basis of all earthly
beauty, and, starting from Howards End, she attempt-
ed to realize England. She failed--visions do not
come when we try, though they may come through try-
ing. But an unexpected love of the island awoke in
her, connecting on this side with the joys of the
flesh, o.n that with the inconceivable. Helen and her
father had known this love, poor Leonard Bast was
groping after it, but it had been hidden from Margar-
et till this afternoon. It had certainly come through
the house and old Miss Avery. Through them: the
notion of 'through' persisted; her mind trembled to-
wards a con lusion which only the unwise have put
into words. 9 .
Margaret's impression of Howards End extends into a repre-
sentation of England firmly and peacefully rooted in the
earth where class divisions no longer exist, where Wilcox-
ism and Schlegelism harmoniously merge. The materialization
of this utopia much depends on how well the two families
integrate under the shadow of Howards End.
Margaret saves her own marriage in much the same way
Ruth Wilcox rescues Paul and Helen from panic and disaster.
With a wisp of hay in her hands, Ruth comes forward to
terminate a quarrel between Charles (her elder son) and
Mrs. Munt (Helen's aunt) over the situation of the lovers--
the breaking off of their engagement. Her pacifying capacity
and empathy emanate from her affinity with the countryside
and the past:
She seemed to belong not to the young people and
their motor, but to the house, and to the tree that
overshadowed it. One knew that she worshipped the
 38

past, and that the in~tinctive wisdom the past can

alone bestow had descended upon her--that wisdom to
which we give the clumsy name of aristocracy. High-
born she might not be. But assuredlYi~he cared about
her ances~ors, and let them help her.
This intuitive wisdom, in turn, descends upon Margaret, who
freely forgives Mr. Wilcox the sexual transgressions of his
past. Deliberating in a garden where Margaret absent-mind-
edly plays with the fresh-mown hay, the betrothed couple re-
establish their trust. ii The episode terminates with Marg-
aret's withdrawal to her chamber, leaving across the hall
a long trickle of grass--a triumphant gesture characteristic
of Ruth Wilcox whose presence the "heiress fl
feels through-
" " "
out the tete-a-tete.
Without a proper appreciation of Howards End--the
perpetual spring of insight and new life 12 _-Margaret might
not have been able to cope with the second altercation be-
tween her and Mr. Wilcox. They have been married for some
time, but news of Helen's pregnancy--the outcome of an ill-
icit affair--puts their relationship in jeopardy. Enraged
by Mr. Wilcox's bourgeois fastidiousness and his egotism in
tolerating no one's misbehaviour but his own, Margaret ref--
uses to enter his house. Their showdown takes place in a
verdant terrain overlooking the Six Hills, enigmatical
mounts assumed by Margare t to be the burial place -of chiv-
alric warriors. A soldier's daughter, she valiantly com-
bats her husband against this backdrop of ancient honour
and glory. The confrontation culminates in the simultaneous
 39

mortification and enlightenment of Mr. Wilcox. Margaret's

military feat climaxes in another mystical gesture--she
runs her fingers through the grass and senses the Six Hills
moving.
The final scenes are indeed, as E.K. Brown observes,
"more variously suggestive".13 But they also precisely be-
tray the ultimate weakness of the novel. In his treatment
of the overriding symbol of Howards End, Forster is perhaps
guilty of a certain artificiality. No doubt, he eventually
fulfills his intention of equating the house with a "heaven-
haven". Yet, in doing so, he runs into difficulties which
incur the criticism of "an unconvincingly moral ending" upon
his book. 14
The sisters' reunion under the wych-elm after sever-
al months symbolizes their ultimate salvation. The inspir-
ited tree rustles in response to the hallowed moment when
they reach mutual understanding, the instant when they seem
"to apprehend life" and attain "peace of the present".1 5
Their grasp of the "now" also means hope for the future.
For in the last episode, set in harvest time, Margaret as-
sures Helen that the withered wisp of grass she is holding
"will sweeten tomorrow" .16 And Mr. Wilcox, more tolerant
than before, reveals his will that Howards End be bequeathed
to Margaret, and, upon her death, to her nephew. Helen's
son, who is playing on the lawn, represents the restoration
of a traditional style of living--an agrarian civilization
 40

from which his father is severed by the oppressive tide of

modern imperialism. Hence, Howards End reverts to its
rightful beneficiary and is, as Brown comments, "saved from
Wilcoxism not for one but for two generations" .17 Helen's
jubilant announcement at the close of the novel reinforces
this air of finality: "The field's cut! --the big meadow!
We've seen to the very end, and it'll be such a crop of hay
as never. ,,18
Yet, this reading holds true only on a sYmbolic level.
It appears rather too easy and simplistic, once we take into
account Forster's shrewd social observation projected through
Helen prior to her exul tant epilogue--his troubled perception
that the pestilence of industrialization and expansionism
has become rampant in London, and virtually allover the
world. Howards End is essentially a retreat from these ter-
rors. There is no explicit indication as to how it consti t-
utes an adequate defence against .the modern: disease, or, in-
deed, why it should be spared. Margaret's resolution of such
fears is dubious at best:
This craze for motion has only set in during the
last hundred years. It may be followed by a civil-
ization that won't be a movement, because it will
rest on the earth. All signs are against it now, but
I can't help hoping, and very early in the morning in
1g
the garden I eel that our house is the future as well
as the past.
The passage betrays the "vagueness of vision" for which F.R.
Leavis indicts Howards End.~O But, as Malcolm Bradbury ex-
plicates, an ambiguous denouement is Forster's aim. 21 The
 41

novelist, of course, realizes the seriousness of his field

of inquiry--a cultural problem concerning "the continuation
of those who 'will kindle the light wi thin'" that no facile
answer can satisfy.22 Skeptical that anyone belief may
single-handedly embrace the impersonal forces of history
and the inner life, he can only offer a solution which is
"makeshift and temporal".23 Although the Schlegels finally
inherit Howards End, there is no guarantee of its perpetuation.
Lionel Trilling praises Forster for his perspicacity
in Howards End, his "mature sense of responsibility" in at-
tempting both to fuse and qUalify the two opposing spheres
of human interest oversimplified in the early works. 24
Granting this appraisal, we may still ask: does Forster suc-
cessfully achieve his purpose? It is difficult to overlook
what seems to be the capital flaw of Howards End: the action
of the novel, largely promoted through Forster's symbolism,
appears inadequate and incompatible with his piercing moral
realism--his critique of modern sterility. The Schlegels'
optimism strikes us as ill-founded and unjustified--a fant-
asy that arises out of the sisters' desperate desire to but-
tress their wavering "cause"against the antagonism of the
Machine Age.
In this light, we cannot comfortably dispense with
Leavis' objection to Howards End: its "perversity of intent-
ion".25 The Schlegels--"stars in the contemporary greyness", 26
preservers of a lost tradition--are, ultimately, no more
 42

than recluses in Howards End. As Frederick Crews remarks,

the private life is upheld at the expense of society, and
Forster bungles "in the task of truly reconciling [the pro-
saic outer world] with his own values".27 Our impression of
Forster in Howards End is not that of a prophet, but a trench-
ant moralist.

2.
If Forster's symbolism is too schematic, the same
is true of his characterization. In terms of their ineff-
icacy in delivering Forster's vision, the characters in How-
ards End are not entirely "prophetic". Whether as natural
or "fantastic" figures (only one or two fit into the latter
category in the novel), none of them wholly compasses the
symbolic role to which he/she is assigned. And worse, they
often degenerate into mere "flat" characters.
Personifying the realm of fact and materialism, lug-
gage and motorcars, the Wilcoxes (with the exception of Ruth)
are, like the Gradgrinds, types rather than individuals.
Henry, the most impressive of his clan, remains for the most
part a dry representation of the unemotional, hard-headed
businessman. (We only need to recall Mr. Wilcox's hay-
fever-~an arbitrary emblem of his obtuseness--to recognize
the thinness of Forster's conception.) Similarly, the shal-
lowly conceived Basts (in particular, Leonard, Helen's lov-
er) stand for the lower middle-class, victims of a society
torn between the two poles of artistic refinement and commerce.
 43

Together with the tiresome Tibby, the stereotypical, sequest-

ered young scholar, these characters are, in one way or
another, "extremists" unable to connect the beast and the
monk in them. They live in fragments and so are ineluct-
ably pedestrian and insubstantial.
But, Forster's uninspired types pale beside the
spectacular caricatures of someone like Dickens: the latter's
comic grotesqueries and melodramatic flair lend to his char-
acters much singularity and vitality. Forster's fiction is,
of course, informed with a rather different philosophical
fervour than is Dickens'. And the provincial "types" he
seeks to delineate in Howards End are not supposed to be
colourful or, in any ordinary sense, satirical. But still,
.Forster cannot easily exonerate himself from the charge of
failing to invest his characters with an aesthetic, if not
moral, energy that makes them lively and interesting.
Even the "round" characters--three-dimensional indiv-
iduals capable of development--are ultimately implausible.
Of these figures, Helen is perhaps the least satisfying. In
the course of the novel, she loses her apparent "rotundi ty"
and turns into a radical "type", an apostle of the fal th of
personal relations. It is true that her "flatness" can be
justified on the grounds that Forster is attempting to ex-
pose the "practical impotence" of her religion. 28 Never-
theless, Helen suffers excessively from what seems to be a
common ailment among Forster's characters--the want of emot-
 44

ional depth.
Helen's affair with Leonard Bast is a notable instance.
It stems from her scorn for Mr. Wilcox's irresponsibility--
his thoughtless advice which indirectly renders Leonard
both jobless and penniless--and her determination to com-
pensate for the wrongs she assumes to have been perpetuated
by her class ("I was full of pity, and almost of revenge") .29
As Forster depicts the incident,
Helen loved the absolute. Leonard had been ruined
absolutely, and had appeared to her as a man apart,
isolated from the world. A real man, who cared for
adventure and beauty, who desired to live decently and
pay his way, who could have travelled more glorious-
ly through life than the Juggernaut car that was
crushing him. Memories of Evie's wedding had warped
her, the starched servants, the yards of uneaten food,
the rustle of overdressed women, motor-cars oozing
grease on the gravel, rubbish from a pretentious
band. She had tasted the lees of this on her arriv-
al; in the darkness, after failure, they intoxicated
her. She and the victim seemed alone in a world of
unreality, and sh~oloved him absolutely, perhaps
for half an hour.
The petty nature of the liaisonis unequivocally drawn.
And the final reference to its brevity wittily adds an ironic
touch to this generally romantic description and deflates
it from pathos to bathos. But in spite of such stylistic
virtuosity, and notwithstanding Forster's poetic language
which suits his metaphysical preoccupations, our conception
of Helen's actual involvement in the event remains blurred.
Evasive in tone, the passage indicates Helen's presence on
this occasion not so much as a figure, or even a caricature,
as a mere tool illustrating Forster's qualification of the
 45

inner world.
Unlike Helen, Margaret is more of an individual .and
is the most vivid of the characters in Howards End. Through-
out the novel, she struggles to achieve personal integrity
by yoking the two sides of human life that are mutually de-
pendent. She emerges most impressively as a character of
"proportion" at the end of the novel where she accomplishes
the synthesis. More and more, she reveals the mysticism
which she shares with Ruth Wilcox; both women are receptive
to the literal and the "supernatural"--the improbabilities
or paradoxes of life which make human existence all the more
enriching. For all her moral consistency, however, Margaret
is not wholly adequate as a symbolic figure. Her deficiency
surfaces most clearly in her marriage with Mr. Wilcox which
F.R. Leavis regards as neither "credible" nor "acceptable".)1
Forster is so preoccupied with the implications of this re-
lationship that he neglects to develop it logically. The
day after Margaret receives her engagement ring, the narrator
informs us:
Margaret greeted her lord with peculiar tender-
ness on the morrow. Mature as he was, she might yet
be able to help him to the building of the rainbow
bridge that should connect the prose in us with the
passion. Without it we are meaningless fragments,
half monks, half beasts, unconnected arches that
have never joined into a man. with it love is born,
and alights on the highest curve, glowing against
the gray, sober against the fire. Happy the man who
sees from either aspect the glory of those outspread
wings. The roads of his soul lie clear, and he and
his friends 'shall find easy going.
It was hard going in the roads of Mr. Wilcox's
soul. From boyhood he had neglected them. 'I am
 46

not a fellow who bothers about my own inside.'

Outwardly he was cheerful, reliable and brave; but
within, all had reverted to chaos, ruled, so far as
it was ruled at all, by an incomplete asceticism
•••• Religion had confirmed him. The words that were
read aloud on Sunday ••• had once kindled the souls of
St. Catharine and St. Francis into a white-hot hat-
red of the carnal. He could not be as the saints
and love the Infinite with seraphic ardour, but he
could be a little ashamed of loving a wife. 'Amabat;
amare timeba~~' And it was here that Margaret hoped
to help him.
A grand creed this is, and Margaret's endeavour to execute
it is heroic. Yet, on the whole, her betrothal to Mr. Wil-
cox is unconvincing: it appears not so much as the consequ-
ence of her intimate feeling for Henry as her desire to up-
hold the "cause" with which she identifies herself. Symbolic
characters in fiction must succeed on the elementary level
of narrative, must display a naturalness and consistency (if
not a psychological complexity) before they can acquire the
resonance which renders them something more than monotonous
thesis figures. Purely as a fictional heroine, Margaret is
only erratically convincing.
The figure of Ruth Wilcox, Margaret's spiritual pre-
decessor, is more rivetting. Her symbolic richness emanates
primarily from her identification with the house and the
wych-elm;:. she is a living embodiment of the supreme human
values rooted in the agrarian tradition. Haunting and enig-
matic, she resembles Mrs. Ramsay in To the Lighthouse and is
a forerunner of Mrs. Moore in A Passage to India. Peacemakers
endowed with a keen instinctive acumen and profound sensit-
ivity, they are capable of integrating relationships into
 47

harmony and unity. At the same time, they are all "immortal"
figures; their creative spirit endures even after death.
Mrs. Wilcox's genius, for instance, helps Margaret discern
"a little more clearly than hitherto what a human being is,
and to what he may aspire. True relationships gleamed. Per-
haps the last word would be hope--hope even on this side
of the grave.,,33 And the night the Schlegel sisters re-un-
ite in Howards End fUlly attests to Ruth's cryptic, benef-
icent influence. The incident marks their growth in under-
standing and paves the way for their ultimate reconciliation
wi th the Wilcoxes. Thus Margaret informs Helen:
I feel that you and I and Henry are only fragments of
that woman's mind. She knows everything. She is
everything. She is the house, and the tree that
leans over it. People have their own deaths as well
as their own lives, and even if there is nothing be-
yond death we shall differ in our nothingness. I
cannot believe that knowledge such as hers will perish 34
with knowledge such as mine. She knew about realities.
Yet, Ruth fails to realize her great "prophetic"
potentiality to the full. As a symbolic figure, most recent
critics find her intolerable. Duke Maskell sardonically de-
scribes her character as "a blank space" inside a "schematic
outline": her "portentous symbolic role is justified by
nothing in her character" and "the things she says and does
go no further in explaining her importance than the things
said about her. ,,35 James McConkey, too, complains that she
is merely "a statement of the transcendent unity, but neither
a plausible human being nor a bearer of the true implication
of [the Forsterian] voice".3 6 He concludes that Ruth is "the
 48

most significant failure of the novel". 37

Although these criticisms are, by and large, valid,
the last is probably too severe. For Forster's message
does not solely depend upon the character of Mrs. Wilcox,
and her portrait is not exactly devoid of human qualities.
In essence, she is "fantastic", though in a limited sense.
She qualifies as an intriguing symbol of the marvellous and
the mysterious. (In this respect, she outdoes many of the
other characters in the novel.) Though she is not a "type",
her idealization as a goddess functioning on a transcendent-
al level allows her little or no room to interact with the
other characters (which explains her minimal influence upon
her family). The following is an extract from an early ep-
isode in which Mrs. Wilcox invites Margaret to accompany her
to Howards End. Acknowledging the privilege of visiting
the house--the honour of sharing her friend's "one passion
in life",--Margaret finally settles on a positive reply:
'I will come if I still may,' said Margaret,
laughing nervously.
'You are coming to sleep, dear, too. It is in
the morning that my house is most beautiful. You
are coming to stop. I cannot show you my meadow
properly except at sunrise. These fogs'--she point-
ed at the station roof--'never spread far. I dare
say they are sitting in the sun in Hertfordshire,
and you will never repent joining them.'
'I shall never re~~nt joining you.'
'It is the same.'~
Mrs. Wilcox's strange, esoteric language bespeaks her emin-
ence as an awesome deity. Yet, it simultaneously emphasizes
her detachment from the human sphere, and, consequently, her
nebulous connection with Margaret. Thus handicapped, the
character of Ruth Wilcox never effectively evinces the ideal
of communication and comradeship, which is much better demon-
strated by the more human Margaret Schlegel. In Aspects of
the Novel, Forster remarks: "The test of a round character
is whether it is capable of surprising in a convincing
way. ,,39 Mrs. Wilcox does surprise with her symbolic reson-
ance--though not convincingly. She is "flat pretending to
be round". 40
Yet, Ruth's "rotundity" does emerge occasionally.
In the same scene in which Mrs. Wilcox invites Margaret to
Howards End, the former's human qualities subtly manifest
themselves. Margaret deems Ruth's silence--her response to
the former's decline of her proposal--as a snub. The irony
is that Ruth's silence may be due to her own mortification
at Margaret's original refusal:
Margaret glanced at the pitiless air and then at
the tired face of her companion. 'Later on I should
love it,' she continued, 'but it's hardly the weather
for such an expedition, and we ought to start when
we're fresh. Isn't the house shut up, too?'
She received no answer. Mrs. Wilcox appeared to
be annoyed.
'Might I come some other day?'
Mrs. Wilcox leant forward and tapped the glass.
'Back to Wickham Place, please!' was her ~fder to
the coachman. Margaret had been snubbed.
Ruth's moment of silence reveals her fine feminine sensib-
ilities. Nonetheless, these human qualities of hers are sub-
ordinate to her symbolic significance. In the final anal-
ysis, she is more successful as a fantastic than as a human
 50

figure.

3·
If Forster's characters are on the whole uncon-
vincing because of their "flatness", except for some oc-
casions when their human qualities emerge--in Ruth's case,
especially--his plot-handling is equally artificial save
for a few episodes which evince Forster's architectonic
potential. An effective plot, Forster argues in Aspects,
demands tight organization--dexterity in leaving no "loose
ends"--and the essential "element of surprise or mystery"
which allows the novelist to control the reader. 42 Although
the action of Howards End is basically unified and engaging
in that Forster has, in the main, satisfied these criteria
--the Beethoven Fifth Symphony episode is illustrative of
Forster's skill in manipulating the plot--it remains defect-
ive. For the novelist indulges in a superficial "fantastic"
mode which, in plain terms, is his stress on illogical plot
twists. Howards End is replete with "mysteries"; however,
instead of elucidating his plot, Forster merely misleads.
The famous Beethoven's Fifth Symphony episode, which,
fortuitously or otherwise, constitutes the fifth chapter of
the novel, is a supreme case of Forster's refined craftsman-
ship and his "highly sensitive and active intelligence,,43
as a manipulator of events. 44 In terms of plot advancement,
the Schlegels' accidental meeting with Leonard Bast at the
concert marks the beginning of their dramatic relationship.
 51

On a symbolic level, the rncident foreshadows the ensuing

action of Howards End.
The Beethoven episode--Forster's metaphorical vision
of human experience--is conveyed through the juxtaposition
of the characters' points of view. Their various responses
to the music disclose, to a certain degree, their personal
temperament and moral outlook. The bookish Tibby, of course,
views the concert as nothing beyond an intellectual exercise,
attending it with "the full score open on his knee".45
Margaret, equable and intuitive, "can only see the music" ,46
without indulging in fanciful interpretations like her more
emotional sister. What Helen conceives of the Allegro is a
dire panorama of the futility and anarchy of existence:
'No; look out for the part where you think you
have done with the goblins and they come back,'
breathed Helen, as the music started with a goblin
walking quietly over the universe, from end to end.
Others followed him. They were not aggressive creat-
ures; it was that that made them so terrible to Helen.
They merely observed in passing that there was no such
thing as splendour or heroism in the world. After
the interlude of elephants dancing, they returned
and made the observation for the second time. Helen
could not contradict them, for, once at all events,
she had felt the same, and had seen the reliable
walls of youth collapse. Panic and emp tiness
Panic and emptiness! The goblins were right. 47
Indeed, as Trilling notes, such a "dreadful fate" awaits
'almost everyone in the novel, "the unformed Leonard Bast
as well as the cultivated Helen Schlegel" in particular. 48
Yet, Helen's impression of Beethoven is incomplete.
For the composer's courage in acknowledging and confronting
the malignant goblins is, at least, a partial affirmation of
 52

life's worth. Supplementing Helen's reading, the narrator

provides his own viewpoint:
Beethoven chose to make all right in the end.
He built the ramparts up. He blew with his mouth for
the second time, and again the goblins were scattered.
He brought back the gusts of splendour, the heroism,
the youth, the magnificence of life and of death, and,
amid vast roarings of a superhuman joy, he led his
Fifth Symphony to its conclusion. But the goblins
were there. They could return. He had said so brave-
ly, and that is wh}f:9one can trust Beethoven when he
says other things.
Beethoven is for Forster a paradigm humanist as are Sopho-
cles and Goethe for Matthew Arnold: the three sages partake
of a
profound intelligence in that they "see life steadily
and see it whole".5 0 /Following his model, Forster also seeks
to restore order in the end, through the steadfast Margaret
Schlegel.
tlModern criticism", says Mark Schorer in his' pene-
trating article on technique in fiction, "has de mons trated
with finality that in art beauty and truth are indivisible
and one. ,,51 The "Beethoven" chapter in Howards End valid-
ates this statement. Truly, Forster's adept manipulation
of the episode through various standpoints bears close re-
semblance to the art of counterpoint in music. Further, he
manages to mingle levity and seriousness in the passage--a
characteristic of "wit" and of "a sophisticated literature",
according to T.S. Eliot. 52
Forster portrays the first half of the concert in a
generally chatty, colloquial tone, as is apparent in phrases
like: "Here Beethoven, after humming and hawing with great
 53

sweetness, said 'Heigho' and- the Andante came to an end,"

"it will be generally admitted that Beethoven's Fifth Symph-
ony is the most sublime noise that has penetrated into the
ear of manti and "such a noise is cheap at two shillings". 53
This comic mode enables the novelist to provide a realistic
background for Helen's metaphysical speculations. Duke
Maskell condemns Forster for his disconcerting use of "low
comedy" on this occasion: "His doubts are attached to neither
music nor the taste for it but to his own capacity to make
either seem important or credible. t154 But Maskell's super-
ficial attitUde denotes a serious misapprehension of Forster's
intent. Significantly, the Beethoven episode exhibits a
powerful coalition of the kingdoms of "fantasy and fact"--
metaphysical considerations presented in a real-life con-
text. 55 It is here that Forster emerges as a true prophet.
Nevertheless, this outstanding scene simultaneously
throws into relief the unevenness of Howards End. The rest
of the narrative, though demonstrating no blatant contra-
vention of the principle of causality, often appears too
ingenious to be wholly satisfying. Forster adroitly intro-
duces into his novel "the phantoms of cowardice and unbe-
lief"--the Basts--with whom Helen entangles herself the
moment she erroneously carries Leonard's umbrella back home
from the music-hall. Yet, the fitful egresses and returns
of these goblins are not manifestations of an organic plot
development, but Forster's deliberate arrangement of events
 54

to conform with the moral pattern he lays out early in the

novel.
The movement of Howards End hinges on a series of
losses in which the Basts are frequently involved. Leonard's
lost umbrella--a mildly farcical "contretempsll_-prompts a
brief encounter between Helen and her morose, diffident
IIl over". The sprites of "panic and emptiness ll revisit the
Schlegels, with Jacky's intrusion upon Wickham Place seeking
her missing "husband--the preposterous outcome of Leonard's
secret retreat into the woods. The incident underscores
Forster's ironic representation of modern civilization. In
his attempt to account for his sudden disappearance, Leonard
brings home to Margaret the plight of the lower middle class
where he and the major part of society belong. Beneath the
superstructure of weal th and art, she sees "an ill-fed boy",
"one of the thousands who have lost the life of the body and
failed to reach the life of the spirit", who have given up
"the glory of the animal for a tailcoat and a couple of
ideas n • 56 As his name suggests, Leonard Bast is a misbe-
gotten offspring of modern times, resembling in some respects
the Arnoldian tragic hero: they share an identical fate--
"wandering between two worlds, one dead,/The other powerless
to be born. tl5 ?
Leonard's unemployment is yet another mishap inten-
sifying Forster's social analysis. Hyatt Howe Waggoner finds
this unexpected turn of events a striking instance which
 55

startles us "into awareness of the degree to which our

lives hinge upon coincidence".5 8 Such a circumstance does
not happen "without cause", but is rather an indication of a
larger world beyond human control and comprehension. 59 This
is a sound interpretation. And indeed, Forster does achieve
his metaphysical purpose, but at the expense of the novel's
logical development. The episode also heightens our conscious-
ness of the purely functional character of the Basts--
pawns employed by the novelist mainly to further the plot.
Forster's superficial design is also manifested in
the wedding of Evie, Mr. Wilcox's daughter. The abrupt arriv-
al of Leonard and Jacky Bast at the party unexpectedly sheds
new light on Mr. Wilcox's moral fibre. Beneath his veneer
of respectability lies the mean spirit of the bourgeo·is.
The pettiness of his affair with Jacky and the carelessness
of his advice to Leonard, both of which are unveiled in this
scene, discover the vacuity of the world he represents.
Yet, the overall effect of the episode is disappoint-
ing. Forster lets pass the opportunity of developing an
otherwise potentially dramatic incident in favour of vapid
-didacticism--an illogical intrusion upon the event. The rev-
elation of the adversities of Leonard and Jacky, the climax
of the incident, is perfunctorily drawn. It hardly demon-
strates the afflictions which one might expect the Basts
to have undergone as victims of Mr. Wilcox's explo.i tation.
The whole occurrence seems to have been designed as an enact-
 56

ment of Forster's humanistic creed. With ardent enthusiasm,

Helen reassures Leonard in the hotel room to which Margaret
dispatches them:
••• to Helen the paradox became clearer and clearer.
"Death destroys a man; the idea of Death saves him.'
Behind the coffins and the skeletons that stay the
vulgar mind lies something so immense that all that
is great in us responds to it. Men of the world may
recoil from the charnel-house that they will one day
enter, but Love knows better. Death is his foe, but
his peer, and in their age-long struggle the thews of
Love have been strengthened, and his vision cleared,
until there is no one who can stand against him.
'So never give in,' continued the girl, and re-
stated again and again the vague yet convincin~Oplea
that the Invisible lodges against the Visible.
In addition to its artifiGiality, this passage, strained
and dogmatic, reveals the inadequacy of Forster's fusion of
realism and fantasy. The irony of Helen's eXhortation lies
in her failure to live up to her convictions: her rejection
of the Wilcoxes precludes the possibility of connection, of
universal brotherhood. Forster undercuts Helen's idealism by
counterpointing it with Leonard's skepticism. His fears
cast doubt on the integri ty of her romantic dream: "Death,
Life and Materialism were fine words, but would Mr. Wilcox
take him as a clerk? Talk as one would, Mr. Wilcox was king
of this world, the superman, with his own morality, whose
head remained in the clouds.,,61 But these questions, mild-
ly mock-heroic in tone, also undermine Forster's own message:
the ascendancy of humanistic values. The novelist's ironic
irresolution confounds his metaphysics.
Like Beethoven, Forster restores hope in the end by
 57

dispelling the goblins, the agents of woe and chaos that

beset the universe. Yet, the novelist does so at the cost
of credibility. Leonard's death--the last "coincidental"
loss in Howards End--most prominently manifests the incon-
grui ty of the plot. Torn apart by guilt and remorse, Leon-
ard turns up at Howards End to confess to Margaret his liais-
on with Helen. Enraged by his presence, Charles Wilcox
thrashes the "seducer" with a sword and accidentally kills
him. The tragedy paradoxically underlines Leonard's spirit-
ual regeneration: his death, a kind of muted triumph arising
out of his sincere grappling with his plight, reaffirms the
meaning of man. Further, it strengthens Forster's plea for
fellowship by resolving the muddled relationship between the
Schlegels and the Wilcoxes. The news of Charles's legal
arraignment results in a crushed and helpless Mr. Wilcox
whom Margaret conveys to Howards End for rehabilitation, an
act which leads to Henry's eventual conciliation with the
Schlegel sisters. Undoubtedly, Leonard's murder confirms
Helen's dictum that death is a kind of affirmation:
To Leonard, intent on his private sin, there
came the conviction of innate goodness elsewhere.
It was not the optimism which he had been taught at
school. Again and again must the drum tap and the
goblins stalk over the universe before joy can be
purged of the superficial. It was rather paradoxical,
and arose from his sorrow. Deatn destroys a man, but
the idea of death saves him--that is the best account
of it that has yet been given. Squalor and tragedy
can beckon to all that is great in us, and strength-
en the wings of love. They can beckon; it is not
certain that they will, for they are not love's
servants. But they can beckon, and ~2e knowledge of
this incredible truth comforted him.
 58

However sound it may appear, such a theory is con-

tingent upon the plot. Essentially, Leonard represents both
product and victim of a society split between materialism and
culture. By eliminating him through a deft turn of the plot,
Forster merely achieves a hollow solution to his problem.
The novelist's casual disposal of Leonard, the catalyst of
the various crises in the plot, provides a facile resolution
of the clash between Wilcoxism and Schlegelism, elements in-
herent in the modern social structure. Had Forster not so
simply dismissed Leonard from his narrative, he would have
faced an additional perplexity. A further development of
Leonard's role as the exponent of the underprivileged would
generate more social strife, more It muddle It , which Forster
might not be able to resolve so comfortably. Leonard's
death readily serves as a kind of deu.s ex machina for the
novelist.
Howards End is, ul tima tely, unsuccessful. Its over-
all deficiency lies in its want of credibility. Forster's
"fantasy", his symbolism woven around the setting, characters
and action of the novel, is often too self-conscious and con-
trived. For the most part, he fails to achieve the effect
of "prophecylt--the reader's intuitive grasp of Forster's
message through the medium of "fantasy". To concur wi th
Trilling's remark that the novel is "undOUbtedly Forster's
masterpiece ,,63 is sur:ely ilJ:.advised and wide of the mark.
 -NOTES

1E.M. Forster, Howards End (Middlesex: Penguin.

1977), pp. 19-20.
2 Ibid ., p. 23.
3E •K• Brown, Rhythm in the Novel (Lincoln: Univ-
ersity of Nebraska Press. 1950), p. 51.
4Forster, Howards End, pp. 107-108.
5Ibid., p. 39.
6Ibid., p. 25.
7Ibid., p. 112.
8Ibid ., p. 188.
9Ibid ., pp. 204-205.
10Ibid ., p. 36.
llThough the setting is Henry's house in Oniton,
Margaret's moral landscape is clearly Howards End.
12George H. Thomson, The Fiction of E.M. Forster
(Detroit: Wayne State University Press, 1967), p. 184.
13 Brown, Rhythm, p. 49.

14Frenerick C. Crews, E.M. Forster: The Perils of

Humanism (Princeton: Princeton University Press, 1962),
p. 122.
15Forster, Howards End, p. 307.
16 Ibid ., p. 328.
17Brown, Rhythm, p. 50.

18Forster, Howards End, p. 332.

19 Ibid ., p. 329.
20F • R• Leavis, The Common Pursuit (London: Chatto &
Windus, 1952), p. 272.
59
 60

21Malcolm Bradbury, ,iHowards End", in Malcolm Brad-

bury, ed., Forster: A Collection of Critical Essa s (Engle-
wood Cliffs: Prentice-Hall, 19 , p. 1 2.
22 Ibid ., p. 142.
23 Ibid ., p. 141.
24Lionel Trilling, E.M. Forster (New York: New Direct-
ions, 1943), p. 115.
25Leavis, Common Pursuit, p. 269.
26Denis Godfrey, E.M. Forster's Other Kingdom (Lon-
don: Oliver & Boyd, 1968), p. 141.
27Crews, Perils of Humanism, p. 123.
28Leav~s,
" Common Pursu~"t , p..269 •
29Forster, Howards End, po. 304.
30Ibid., p. 308.
31Leavis, Common Pursuit, p. 269.
32Forster, Howards End, pp. 187-188.
33 Ibid ., p. 111.
34Ibid., pp. 305-306.
35Duke Maskell, "Style and Symbolism in Howards
End", Essays in Criticism, 19 (1969), 302.
36James McConkey, The Novels of E. M. Forster (I thaca:
Cornell University Press, 1957), p. 80.
37 Ibid ., p. 80.
38Forster, Howards End, p. 96.
39 , Aspects of the Novel (Middlesex: Pelican,
1970), p. 85.
40 Ibid ., p. 85.
41Forster, Howards End, p. 93.
42
--------, Aspects, p. 95.
 61

43Virginia Woolf, Tne Death of the Moth and other

Essays (London: Hogarth Press, 1942), p. 109.
44Another remarkable example is Ruth Wilcox's unex-
pected death which marks the beginning of Chapter XI. The
scene prior to this episode is a conversation between Ruth
and Margaret. As Malcolm Bradbury suggests, such an at-
tempt to "break up the chronological account of events"
aims to achieve the "maximum dramatic effect". (See
"Howards End", p. 139.) Further, it marks a change in
point of view in the novel. The scene following Ruth's
death portrays the family meeting of the Wilcoxes, and
this is the first time we do not see the Wilcoxes through
the Schlegels' eyes. Ruth's death readily serves as a
medium through which Schlegelism and Wilcoxism are juxta-
posed.
45Forster, Howards End, p. 45.
46 Ibid ., p. 44.
47Ibid ., p. 46.
48Trilling, Forster, pp. 131-132.
49Forster, Howards End, p. 47.
50Ibid., p. 264. See also Arnold's "To a Friend" in
Kenneth and Miriam Allott, eds., The Poems of Matthew Arnold
(London: Longman, 1965), p. 111.
51 Mark Scharer, "Technique as Discovery" in his The
World We Imagine (New York: Farrar, Straus and Giroux,
1968), p. 3.
5 2T•S • Eliot, "Andrew Marvell" in Frank Kermode,
ed., Selected Prose of T.S. Eliot (London: Faber & Faber,
1975), pp. 164-165.
53Forster, Howards End, pp. 44-46.
54Maskell, "Style and Symbolism in Howards End", p. 298.
55Woolf, The Death of the Moth, p. 106.
56Forster, Howards End, p. 122.
57Matthew Arnold, "Stanzas from the Grande Chart-
reuse" in Kenneth and Miriam Allott, eds., The Poems of
Matthew Arnold, p. 305.
58Hyatt Howe Waggoner, "Notes on the Uses of Coincid-
 62

ence in the Novels of E.M.. Forster in Malcolm Bradbury,

ll

ed., Forster: A Collection of Critical Essays, p. 85.

59 Ibid ., p. 85.
60Forster, Howards End, p. 237.
61 Ibid ., pp. 236-237.
62 Ibid .:, p. 315.
63Trilling, Forster, p. 114.
 III

A PASSAGE TO INDIA

1.
A Passage to India is of a supreme literary stature.
It stands not only as a significant novel in the twentieth
century, but also as a great aesthetic monument in the whole
canon of English literature. Completed fourteen years after
the pUblication of Howards End, A Passage is more intricate
and profound than its immediate predecessor. Yet, the two
novels share a fundamental affinity in Forster's moral pre-
occupations. And in this sense, Howards End, the lesser
work, may be deemed a preparatory exercise for our reading
of the mature A Passage to India. Despite its dry schemat-
ism, Howards End represents an expansion of Forster's ontol-
ogical vision in its attempt to integrate human relation-
ships by synthesizing the inner and outer lives, rather than
merely emphasizing one at the expense of the other, the lat-
ter notion demonstrated chiefly by the early novels. Essent-
ially, A Passage succeeds where Howards End fails; the
former manages to convey cogently Forster's message of
universal brotherhood by integrating theme and technique.
The long lapse between the composition of Forster's last
two novels perhaps connotes the rigorous process that the
novelist underwent to attain full mastery of his art as well
6)-
 64

as assimilate his experiences to refine his conception of

existence, all of which find thorough expression in A Pas-
sage to India.
Notwi thstanding its thematic development, Howards
End misses the completeness of perception that is the
principal strength of A Passage to India. In the former
novel, the successful union between the external world of
action and the private inner life, epitomized by the harmony
that Henry Wilcox and the Schlegels eventually share inhab-
i ting Howards End, is ultimately too pat and pro pi tious to

be convincing. It is dubious whether such a resolution

does, in effect, suggest any recognition and acceptance of
Wilcoxism, for Howards End is, in the main, a retreat from
the disintegrating society of materialism. Comradeship,
born out of the fusion of the prose and the passion, the
temporal and the infinite, is no longer easy in A Passage
to India. Events in the troubled years between the comp-
letion of Howards End and A Passage--the war and Forster's
visits to India, in particular--provided the novelist with
ample material for his final novel and, more crucially,
broadened his view of the dualistic principle that under-
lies human experience, the central preoccupation in prac-
tically all his fiction.~ In A Passage, Forster examines
the possibility of love in the modern age by probing the
relationship between occidentals and orientals in India.
The comprehensiveness and intricacy of the novel are appar-
 6-5

ent: its meaning is not stri~tly confined to the personal,

social and political levels, but is also invested with a
universal dimension.
And stylistically, A Passage to India surpasses
Howards End. Though both bear a close resemblance in their
sophisticated craft, the former distinguishes itself from
the latter in its symbolic resonance which renders A Passage
to India powerfully "prophetic". The reader's intuitive
grasp of Forster's revelation in the novel springs from the
novelist's keen and provocative symbolism, in which "fant-
asy" performs a vital role, as in Howards End. But in A
Passage, this magical force operates in a sharply different
manner than in the pre-war novel. Rather than disrupting
the symbolic structure of the book, this force blends harm-
oniously with the setting, characterization and action of
'A-'Passage to India, thus contributing to the novel's singul-
ar effect. To ascertain whether Forster's message of love
does truly come through "fantasy" and "prophecy" in A Pas-
sage to India, let us now turn to the novel.
The complexity of A Passage necessitates a different
critical approach from that to Howards End. In the latter
novel, the house exercises a mysterious influence over the
major characters and their action. In essence, Howards End
is an utopia and the people who understand its meaning are
"saved". The setting of A Passage to India, however, no
longer manifests such arbi trary--if not entirely unfounded--
 66

optimism; it does not suggest a faltering faith in humanity,

but Forster's determination to confront the issue more real-
istically. In A Passage, India serves as a neutral ground
on which human integrity is tried. If the place does be-
token some kind of promised land, its accessibility is
totally contingent upon men's efforts to communicate, to
establish a bond of fellowship among themselves. Hence, in
evaluating A Passage to India, it is necessary to study
both the setting and the characters' interaction hand in
hand instead of isolating them for discussion. The result
of this procedure will, in turn, shed light on the charac-
terization of the novel, which constitutes the final part
of this analysis.
The prefatory chapter of A Passage to India,comp-
osed mainly of a topography of Chandrapore, subtly sets up
the overall prophetic tone of the novel. Forster's pictur-
esque description of the city, marked by "fantastic" touches
in spots, elicits a vague uneasiness as to the prospect of
"passage", of human rapprochement, in India. Not remark-
ably exciting, Chandrapore, the principal setting of A
Passage, is indeed characterized by its extraordinary im-
personali ty. There seems to be no link be tween the city,
.whether the dilapidated outskirts or the verdurous tropical
inland, and its residents. Neither men nor their under-
takings seem to have the least impact on the expansive
landscape:
 67

Inland, the prospect alters •••• The toddy palms

and neem trees and mangoes and pepul that were hid-
den behind the bazaars now become visible and in
their turn hide the bazaars •••• Seeking light and air,
and endowed with more strength than man or his works,
they soar above the lower deposit to greet one anoth-
er with branches and beckoning leaves, and to build
a city for the birds. Especially after the rains do
they screen what passes below, but at all times, even
when scorched or leafless, they glorify the city to
the English people who inhabit the rise, so that
newcomers cannot believe it to be as meagre as it is
described, and have to be driven down to acquire
disillusionment. As for the civil station itself,
it provokes no emotien. It charms not, neither does
it repel. It is sensibly planned, with a red-brick
club on its brow, and farther back a grocer's and a
cemetery, and the bungalows are disposed along roads
that intersect at right angles. It has nothing hid-
eous in it, and only the view is beautiful; it
shares nothing with the city except the overarching
sky.
The sky too has its changes, but they are less
marked than those of the vegeta tionand the river.
Clouds map it up at times •••• But the core of blue
persists, and so it is by night. Then the stars
hang like lamps from the immense vault. The dis-
tance between the vaul t and them is as nothing to
the distance behind them, and that farther distance,
though beyond colour, last freed itself from blue.
The sky settles everything--not only climates
and seasons but when the earth shall be beautiful •
••• The sky can do this because it is so strong and
so enormous. Strength comes from the sun, infused
in it daily, size from the prostrate earth. No
mountains infringe on the curve. League after
league the earth lies flat, heaves a little, is flat
again. Only in the south, where a group of fists
and fingers are thrust up through the soil, is the
endless expanse interrupted. These fists and fingers
are th~ Marabar Hills, containing the extraordinary
caves.
The passage discloses a sort of double-vision in which the
Indian setting seems mundane at close range but appears
colourful at a distance. Such a shifting reality, the
testing ground for human relationships, becomes symbolic of
the uncertainty of attaining cross-cultural communication,
 68

understanding and love. The final mysterious reference to

the Marabar Hills, a deliberate echoing of the opening
sentence of the chapter, heightens our consciousness of the
place where the drama epitomizing the major characters'
attempt to achieve friendship and understanding is to occur.
The outstanding Marabar incident, fittingly port-
rayed in "Caves", the central part of A Passage, is careful-
ly prepared for by a series of ominous events and followed
by a coda, both of which make up "Mosque" and "Temple ", the
first and third sections of the novel respectively. Apart
from supplying A Passage to India with a coherent dramatic
framework, this design also contributes to its symbolic
unity. The three sections, each of which represents a dif-
ferent aspect of India, together compound Forster's extens-
ive vision of the country. "Mosque", set in spring time,
is associated with Islam and expresses in a prophetic voice
the problem of communication between East and West. This
perplexing issue vividly shows itself in the coincidental
first encounter between Dr. Aziz and Mrs. Moore, which
happens in the mosque.
The episode is peculiarly intriguing. It firmly
attests to Forster's finesse as a plot-maker. As Wayne C.
Booth astutely elucidates, the import of the incident stems
from the accomplishment of both its "dramatic necessity and
rhetorical function". 3 The scene establishes the requisite
friendship between the young Indian doctor and the elderly
British visitor, which generates the ensuing major events~

Fabulously evocative, it also allows us insight into the

rest of the novel's action. In addition, the incident ex-
emplifies Forster's forceful treatment of the Indian setting.
The numinous mosque lends enchantment to the accidental
meeting between the two principal figures and, more compel-
lingly, foreshadows the difficulty that such a relationship
may involve.
The manner in which Aziz and Mrs. Moore initiate
their fellowship is sudden but sincere. Their chance
conversation arises out of Aziz's withdrawal into the
mosque to recover his self-possession lost through his re-
buff by two British ladies. . He rages at her interruption
of his meditation, only to find that she, unlike most other
Englishwomen in India, is candid, tolerant and respectful.
In a delightful yet mildly Gothic vein, Forster depiets the
incident:
••• one of the pillars of the mosque seemed to quiver.
It swayed in the gloom and detached itself. Belief
in ghosts ran in his blood, but he sat firm. Another
pillar moved, a third, and then an Englishwoman
stepped out into the moonlight. Suddenly he was
furiously angry and shouted: 'Madam! Madam! Madam!'
'Oh! Oh!' the woman gasped.
'Madam, this is a mosque, you have no right here
at all; you should have taken off your shoes; this
is a holy place for Moslems.'
'I have taken them off.'
'You have?'
'I left them at the entrance.'
'Then I ask your pardon.'
Still startled, the woman moved out, keeping the
ablution-tank between them. He called after her, 'I
am truly sorry for speaking.'
 70

'Yes, I was right, was I not? If I remove my

shoes, I am allowed?'
'Of course, but so few ladies take the trouble,
especially if thinking no one is there to see4'
'That makes no difference. God is here.'
Here through Aziz's fluid mind, Forster creates a realistic
context in which to render his "fantasy" convincingly. Mrs.
--,- -_.. ---
Moore's mysteriousness richly augments the charm of her new-
found friendship with the Indian physician. Their exchange
culminates in Aziz's blissful discovery that Mrs. Moore
shares his feeling about the inconsiderate Mrs. Callendar,
who has snubbed Aziz most seriously. Their initial mis-
understanding eventually resolves itself in mutual confidence:
He was excited partly by his wrongs, but much
more by the knowledge that someone sympathized with
them. It was this that led him to repeat, exagger-
ate, contradict. She had proved her sympathy by
criticizing her fellow-countryman to him, but even
earlier he had known. The flame that not even
beauty can nourish was springing up, and though his
words were querulous his heart began to glow secret-
ly. Presently it burst into speech.
'You understand me, you know what others feel.
Oh, if others resembled you! '
Rather surprised, she replied: 'I don't think I
understand people very well. I only know whether I
like or dislike them.'
'Then you are an Oriental. ,5
In effect, the scene objectifies "the secret understanding
of the heart" that Aziz is contemplating before Mrs. Moore's
intrusion. 6 There is little doubt that this genuine friend-
ship will endure. And indeed, it does produce a far-reach-
ing effect in view of Aziz's rapport with Mrs. Moore's chil-
dren. Yet, the hope that such a promising relationship is
a microcosm of the larger concern of universal brotherhood,
 ?1

of harmony between East and ~st, remains equivocal. For

Mrs. Moore, with her profound mysticism and marvellous in-
-~-~-~-

tui tive_~nowledge
...
~~~~"",.,, , ..,----
of_ people, is hardly an ordinary person,
much less a characteristic westerner. But more strikingly,
the episode discloses Aziz's impetuosity, his erratic temp-
erament which, though creating no adverse effect on Mrs.
Moore's attitude towards him, does not in any sense strength-
en his position in his subsequent attempts to befriend
u\
other Anglo-Indians. \
This ambiguous tone is further intensified through
the mise-en-scene. As Reuben A. Brower observes, the mosque
itself delicately reveals "an ambivalence" Characteristic
of the novel's grand perspective on the feasibility "of
communication between Britons and Indians".? Here the
setting, discernibly more substantial and comprehensive
than the house in Howards End, exhibits not an optimistic
vision, but an insight into the dualistic nature of human
existence wherein opposites co-exist, contain each other--
light and darkness, mind and body, passion and intellect,
and likewise, good and evil:
The courtyard was paved with broken slabs. The cov-
ered part of the mosque was deeper than is usual; its
effect was that of an English parish church whose
side has been taken out. Where he sat, he looked
into three arcades whose darkness was illuminated by
a small hanging lamp and by the moon. The front--
in full moonlight--had the appearance of marble, and
the ninety-nine names of God on the frieze stood out
black, as the frieze stood out white against the sky.
The contest between this dualism and the contention
of shadows within pleased Aziz, and he tried to sym-
bolize the whole into some truth of religion and love.
 72

A mosque by winning his approval let loose his imag-

ination. The temple of another creed, Hindu, Christ-
ian, or Greek, would have bored him and failed to
awaken his sense of beauty. Here was Islam, his own
country, more than a Faith, more than a battle-cry,
more, much more ••• Islam, an attitude towards life
both exquisite and durable~ where his body and his
thoughts found their home.
Again, Aziz's foolhardiness clearly surfaces in his apprec-
iation of the form rather than the content of Islam and in
his unquestioned belief in the supremacy of his religion.
On the whole, it is true that the episode accentuates the
Islamic spirit--"Equality before God"--which is, as Forster
argues elsewhere in his non-fictional writing, "so doubtful-
ly proclaimed by Christiani ty". 9 But whether such an ideal
will materialize remains to be seen.
To a large extent, Fielding's tea-party, a symbolic
extension of the mosque episode, also serves as an enrich-
ing rehearsal for the revelatory human drama at Marabar.
The gathering, primarily arising out of the schoolmaster's
intention to entertain the two British visitors, occasions
Aziz's second encounter with Mrs. Moore and his new ac-
quaintance with her young, eager travelling companion, Miss
Adela Quested, the Hindu Professor Godbole and Fielding
himself. Essentially an exercise in perspective, the epi-
sode unfolds the highly organized structure of A Passage to
India. Prior to this scene is the Bridge party, a half-
hearted attempt by the British at the Civil Station to
close the gap between East and West. The failure of this
 73

reception evidences i tsel! in "the echoing walls of [the

·
I n d ~ans ,] . .1
c~v~ 1. t y, l O
II
an b
em I em 0 f t h e par t'1 t'10n between
the generally indifferent English and their servile guests.
Fielding's tea-party contrasts sharply with the Bridge
party in that it consists of the most understanding members
of the two races, distinguished by their good-will and sin-
cerity rather than superficiality. Thus with its different
outlook, Fielding's party offers a new standpoint from
which to perceive the problem of connection be tween the two
civilizations.
In his critique of A Passage, Arnold Kettle elab-
orates upon this scene, stressing its "superb" atmosphere,
its ·tone of "a profound scepticism, tempered by a vague
confidence" that is predominant throughout the novel. 11
Indeed, the incident does indicate a certain hope of com-
radeship with the existence of open-minded and genial fig-
ures such as Aziz, Fielding and Mrs. Moore; yet, it also
underlines what seems to be the foremost obstacle in this
prospect--the incongruity of spirit between East and West.
The characters' discussion of Indian etiquette uncovers
their fundamental cultural disparity:
The host was inclined to change the subject, but
Aziz took it up warmly, and on learning fragments of
the delinquents' name pronounced that they were
Hindus.
'Slack Hindus--they have no idea of society; I
know them very well because of a doctor at the hos-
pital. Such a slack, unpunctual fellow! It is as
well you did not go to their house, for it would give
you a wrong idea of India. Nothing sanitary. I
 74

think for my own part they grew ashamed of their

house and this is why they did not send.'
'That's a notion,' said the other man.
'I do so hate mysteries,' Adela announced.
'We English do.'
'I dislike them not because I'm English, but
from my own personal point of view,' she corrected.
'I like mysteries but I rather dislike muddles,'
said Mrs. Moore.
'A mystery is a muddle.'
'Oh, do you think so Mr. Fielding?'
'A mystery is only a high-sounding term for a
muddle. No advantage in stirring it up, in either
case. Aziz and I know well that India's a12uddle.'
'India's--Oh, what an alarming idea!'
Urbane, clear-witted and shrewd, Fielding epitomizes the
English character at its best. Nonetheless, its general
want of sensitivity manifests itself most prominently in
the literal-minded and somewhat priggish Miss Quested, who
stands apart from Fielding and Mrs. Moore in her ironic
intention to see the "real" India without knowing its
people. 13 Conversely, the Indians are intensely passion-
ate, a singularity of temperament which frequently incurs
the sacrifice of suavity and grace. As seen in the passage,
Aziz's flippant behaviour, his indiscreet denunciation of
HindUS, verges on the preposterous. The characters' racial
chasm emerges even more glaringly at the end of the meeting
which unveils a moderately bleak picture with respect to
the chance of their ultimate union.
A prime example of Kettle's concept of "the symbolic
moment, the satisfying incident or. episode which, though
complete in itself, trembles with the more distant, more
general repercussions which themselves thus force their way
 75

back into the book", this farewell scene is acutely "pro-

phetic" .14 The symbolic conclusion of the party, rein-
forced by the mystical setting, evokes a pervasive mood of
hollowness typical of the characters' action. The friendly
gathering terminates with the unexpected intervention of
Ronny Heaslop, the City Magistrate who endeavours to drag
Adela and Mrs. Moore--his fianc~e and mother respectively-=
off to attend a polo game:
So the leave-taking began. Everyone was cross or
wretched. It was as if irritation exuded from the
very soil. Could one have been so pe tty on a Sco tch
moor or an Italian alp? Fielding wondered after-
wards. There seemed no reserve of tranquillity to
draw upon in India. Either none, or else tranquil-
lity swallowed up everything, as it appeared to do
for Professor Godbole •.••
His thin voice rose, and gave out one sound after
another. At times there seemed rhythm, at times
there was the illusion of a Western melody. But the
ear, baffled repeatedly, soon lost any clue, and
wandered in a maze of noises, none harsh or unpleas-
ant, none intelligible. It was the song of an un-
known bird. Only the servants understood it. They
began to whisper to one another. The man who was
gathering water chestnut came naked out of the tank,
his lips parted with delight, disclosing his scarlet
tongue. The sounds continued and ceased after a
few moments as casually as they had begun--apparent-
ly half through a bar, and upon the sUbdominant.
'Thanks so much: what was that?' asked Fielding.
'I will explain in detail. It was a religious
song. I placed myself in the position of a milk-
maiden. I say to Shri Krishna, "Come! come to me
only." The god refuses to come. I grow humble and
say: "Do not come to me only. Mul tiply yourself
into a hundred Krishnas, and let one go to each of
my hundred companions, but one, 0 Lord of the Univ-
erse, come to me." He refuses to come. This is re-
peated several times. The song is composed in a
raga appropriate to the present hour, which is the
evening. '
'But he comes in some other song, I hope?' said
Mrs. Moore gently.
 76

'Oh, no, he refuses to come,' repeated Godbole,

perhaps not understanding her question. 'I say to
him, Come, come, come, come, come, come. He ne-
glectato come.'
....... Ronny's steps had died away, and there was a
moment of absolute silep3e. No ripple disturbed the
water, no leaf stirred.
This startling end to the tea-party, punctuated by Godbole' s
arcane incantation, suggests the ultimate reality beyond
human grasp. Enigmatic and disconcerting, the professor's
song partakes of the same cosmic vision.that the Indian
milieu embodies. His chant intensifies the formidable
starkness of the place through the pivotal image of the
.-

echo which reverberates throughout the novel. Hitherto

India's profundity has been likened on various occasions to
the voice of the echo and the arch of the sky (another key
symbol), notably in Mrs. Moore's growing anxiety towards
the foreign surroundings: "Outside the arch there seemed
alWayS an arch, beyond the remotest echo a silence. ,,16
;'/ "'1..-,
./ Qodbple's musical invocation, essentially a repeti tion of
\.. '....... ' '.

sounds grounded in the petition "Come, come, come •.• ",

further dramatizes this feeling of apprehension: winding up
in a negative response to the protagonist's earnest appeal,
the hymn bespeaks man's fruitless efforts towa~ds mutual
understanding. With its solidity of setting and verisimil-
itude of action, the scene resembles the mosque episode
in providing the natural conditions for the perfection of
Forster's "fantasy". As Kettle indicates, "the room, the
tank, the garden••• Aziz's half-comic attempts to bridge the
 77

gap .•• the self-sufficiency of Godbole and his mythology •••

and the figures of the servants in the garden, responding
to the song, counteract any danger of the scene's becoming
too obviously a mere symbolic dramatization. ,,17 Effective.-
ly, the party grants us insight into the problem of human
love which explicitly distinguishes itself in the Marabar
incident.

2.
The profusion of scholarly exegeses that this
central event nas generated thoroughly attests to its rich-
ness and, consequently, Forster's consummate artistry. Like
the Beethoven episode in Howards End, the Marabar expedition
represents a sublime coalescence of substance and style.
Simultaneously dramatic and metaphorical, Forster's cons-
truction of the incident deftly expresses the awesomeness
of the adventure. And what is frequently recognized as the
novelist's primary defect--his inability to meld the real
and the sYmbolic--becomes irrelevant here: the momentous
excursion powerfully exemplifies a symbiosis of realism and
symbolism, of social comedy and poetic seriousness, a per-
fect conjunction not invariably achieved in Forster's pre-
vious novels.
To compare the respective comic sensibilities of
Forster and Jane Austen might appear a critiCal commonplace.
Yet, it is highly interesting and worthwhile to observe the
 78

way Forster, the Jane Aust~ni~e,18 works hand in hand with

Forster, the metaphysical writer,to achieve, in Henry James's
term, "the maximum intensity with the minimum of strain" in
the Marabar incident. 19 Consider the following excerpt
which delineates a minor mishap in the early part of the
tour:
There were Fielding and old Godbole, held up at
the level-crossing. Appalling catastrophe! The
gates had been closed earlier than usual. They
leapt from their tonga; they gesticulated; but what
was the good. So near and yet so far! As the train
joggled past over the points, there was time for
agonized words.
'Bad, bad, you have destroyed me.'
'Godbole's pujah did it,' cried the Englishman.
The BrahmaYllowered his eyes, ashamed of religion.
For it was so: he had miscalculated the length of a
prayer.
'Jump on, I must have you,' screamed Aziz, beside
himself.
'Right, give a hand.'
'He's no t to, he'll kill himself,' Mrs. Moore
protested. He jumped, he failed, ••• The train rum-
bled past ••••
'Mrs. Moore, Miss Quested,our expedition is a
ruin.' He swung himself along the footboard, almost
in tears.
'Get in, get in; you'll kill yourself as well as
Mr. Fielding. I see no ruin.'
'How is that? Oh, explain to me!' he said pi te ...
ously, like a child.
'We shall be all Moslems together now, as you
promised. '
She was perfect as always, his dear Mrs. Moore.
All the love for her he had felt at the mosque
welled up again, the fresher for forgetfulness.
There was nothing he would n20 do for her. He
would die to make her happy.
The passage demonstrates, no less than Forster's other
successful scenes, the novelist's masterful use of irony,
his poise, penetration and economy of style--felicities
 79

which he shares with Jane Austen. Here comedy evolves out

of a flurry, ironically prompted by men of authority and
intellect. The characters' reactions to the "contretemps"
--Fielding's helplessness, Godbole's humiliation and Aziz's
h;bit~"~'~fvet~--all cleanly presented in a few strokes,
add to the whimsicality of the situation. While acknow-
ledging in an interview his own indebtedness to Jane
Austen, Forster described himself as a more ambitious writ-
er than she: through her, he learned "the possibilities of
domestic humour", and he "tried to hitch it on to other
things". 21 Thus for Forster, the comic mode is no t an
end, but a medium through which to establish a realistic
ground for upholding his cosmic vision. In this light, the
droll beginning of the Marabar excursion carries an extend-
ed function: Aziz's interjection that the trip is a failure
represents a dramatic irony which achieves its full effect
in the characters' climactic entrance into the caves.
Indeed, the Marabar journey is, symbolically, "a
stupendous replica of [Fielding's] tea-party". 22 The latter
ends,;ruefully in an abortive attempt at communication; the
former results tragically in disaster and misunderstanding.
The crisis centres on the traumatic experiences of Mrs.
Moore and Adela Quested in the caves. In an unfamiliar and
immeasurably obscure environment, the characters' lack of
comprehension grimly denotes the hopelessness of connection.
By and large, the Marabar incident, the highlight of the
 80

middle section of A Passage, is conveyed through the symbol

of "caves", the background as well as catalyst of the grand
muddle. In the preamble to this tremendous event--the
initial chapter of Part II--Forster, viewing the caves in
a meticulously detailed and erudite faShion, presents them
as some dire creation, aloof and inscrutable. Predating
the origin of humanity, they have witnessed the world's
nascence and seem to exist in a timeless state which eludes
man's estimations and critical distinctions:
[The visitor] finds it difficult to discuss the
caves •.• for the pattern never varies, and no carving,
not even a bees'-nest or a bat, distinguishes one
from another. Nothing, nothing attaches to them,
and their reputation ••• does not depend upon human
speech. It is as if the surrounding plain or the
passing birds have taken upon themselves to exclaim
'extraordinary', and the word has2~aken root in the
air, and been inhaled by mankind.
The dismaying neutrality of the caves, their complete ab-
sence of moral attributes, hints at a higher order indif-
ferent to human ac tion: "No thing is inside them, they were
sealed up before the creation of pestilence or treasure; if
mankind grew curious and excavated, nothing, nothing would
be added to the sum of good or evil. ,,24 In interpreting
the caves, modern critics mostly employ either a theologi-
cal or a Jungian approach (or, in the case of Wilfred
Stone, both). According to some commentators, though the
Marabar Hills precede religion and "are older than all
spirit",25 Hinduism, a form of elemental knowledge, paral-
leIs to a great extent the vital principle they embody.
 81

This ancient religious faith, based on the tenet that main-

tains the realization of truth (Brahma) through recognition
of the unity between Self (A tman) and Not-self (Brahmin),
of the identification between good and evil, corresponds to
the indistinctness, the nullity of value that typifies the
Marabar. The Jungian view equates the caverns with the
"primal womb II , icon of the unconscious--the "darkness be-
fore existence ". 26 This notion represents the caves as the
non-being out of which all things emanate. Common to ~hese

ideological arguments is the presentation of a cosmic real-

ity alien to the characters' western religious background
and basic training.
In a sense, the tragic event of Marabar stems from
the visitors' misapprehension of the caves. Of these fig-
ures, the mystical Mrs. Moore is the most cognizant of the
message embodied in the landscape; yet, her grasp of it is
incomplete. For her, what the caves symbolize is starkly
negative. They intensify her fear by reinforcing what
Godbole's song seems to imply--that contemporary society is
a gOdIess world vexed by emptiness and chaos. This horror
is chiefly portrayed through the recurring symbol of the
echo. What is' so terrifying about the echo in the caves is
its vacuity of meaning: "Whatever is said, the same mono-
tonous voice replies •••• Hope, politeness, the blowing of a
nose, the squeak of a boot, all produce 'bourn'. ,,27 Its
- - - - - - - - . - •• <

impact on Mrs. Moore is that

 82

the echo began in some indescribable way to under-

mine her hold on life. Coming at a moment when she
chanced to be fatigued, it had managed to murmur,
'Pathos, piety, courage--they exist, but are ident-
ical, and ~~ is filth. Everything exists, nothing
has value. "
Her pessimism can be explained in terms of Godbole's analy-
sis of the Marabar inGide-nt.
-------"'\ Though not a member of the
expedition, the H~nq~~ystic discloses a far deeper insight
into the caves than any of the visitors. Viewing the event
as an evil action that "expresses the whole of the universe",
he further informs Fielding:
'Good and evil are different as their names imply.
But,-in my own humble opinion, they are both of them
aspects of my Lord. He is present in one, absent in
the other, and the difference between presence and
absence is great, as great as my feeble mind can
grasp. Yet absence implies presence, absence is not
non-existence, and we are theref2ge entitled to re-
peat, "Come, come, come, come".'
The professor's metaphysics offers us a powerful glimpse
into the mystery of the Marabar. Prefiguring the ultimate
reality, the caves transcend all human values and moral
distinctions; in this sense, they are neither good nor
evil and represent the identification of these opposites.
To conceive the caves as vile, as symbolic of the non-exist-
ence of infinite goodness, is to miss the pivotal point
that their apparent lack of positive values paradoxically
denotes the existence of an absolute truth, however veiled
to human eyes. But this principle escapes Mrs. Moore.
Hitherto, she has desired to communicate with God through
becoming "one with the universe".3 0 Yet, her experience at
 83

the Marabar subverts such an aspiration, for it reveals the

cosmos to her as an oppressive rather than benignant force,
hostile to mankind. What has spoken to her in the caves, as
she reflects some time after the event, is "something very
old and very small. Before time, it was before space also.
Something snub-nosed, incapable of generosity--the under-
lying worm itself. ,,31 This last metaphor, "emblematic of
the life principle" , further clarifies the meaning of the
caves. 32 With its recoiling and contorted mo tion, the worm
or "serpent of e te rni ty made of maggo ts ,,33 suggests the
disorder and uncertainty of nature. However, these evils,
providing man with an impetus to restore order and meaning,
express in the long run the value of human existence; they
are part of an eternal pattern which indicates a measure of
stability and purpose in a sombrous, chaotic universe. But
Mrs. Moore's religion does not allow her to see that far.
She is shocked to discover the futility of her attempt to
achieve oneness with the infinite. Her Christian values
break down in the face of her observation that the unseen
is devoid of exaltation and beauty, and that the thought of
ultimate unity equals that of nothingness:
But suddenly, at the edge of her mind, Religion ap-
peared, poor little talkative Christianity, and she
knew that all its divine words from 'Let there be
Light' to 'It is finished' only amounted to 'bourn'.
Then she was terrified over an area larger than
usual; the universe, never comprehensible to her
intellect, offered no repose to her soul, the mood
of the last two months took definite form at last,
and she realized that she didn't want to write to he-r
children, didn't want to communicate with anyone,
 84

not even with God. 34

Likewise the victim of a calamitous
occurrence at the caves. Distinguished by her arid intel-
lectualism and rigidly logical reasoning, she lacks the
imagination to recognize the significance of the Marabar
landscape. Yet, her tragedy is essentially the result of
her inadequacy consciously to perceive the mystery of the
place. Throughout the novel, Forster offers us no explan-
ation as tb what exactly happens in the caves. For he is
not so much interested in the specifics of the action as in
its moral tension and overall implications. Simply by dis-
closing Adela's portentous disappearance during the trip,
Forster astutely prepares us for a double shock: Aziz's
immediate arrest at his return to Ghandrapore and the sub-
sequent revelation of his alleged assault of Adela in a
cavern. \ Besides, a detailed account of the crisis would
irieteiy~~ distract us from discerning the psychological subt-

lety with which the novelist conceives the incident. For

this reason, Forster also constantly drops hints about
Aziz's innocence. Based on the assumption of Aziz's sexual
appetite, the indictment appears tenuous for, prior to the
outing, we are already informed of Aziz's critical attitude
towards Adela's physical appearance: "Adela's angular body
and the freckles on her face were terrible defects in his
eyes, and he wondered how God could have been so unkind to
any female form. ,.35 And in a down-to-earth manner, he ex-
 '<
,-\ .

85- ,t

presses a similar opinion to Fielding: "She had practically

no breasts, if you come to think of it. ,,36 Thus, to under-
stand Adela's disastrous adventure, it is necessary to exam-
ine her mental process on the way to the caves.
Her contemplated subject is marriage. Appropriately,
the Hills provide the elusive ambience in which she reviews
her relationship with Ronny. The sight of a peculiarly in-
dented rock, reminiscent of the depressed spot caused by the
engaged couple's minor car accident, forces her into realiz-
ing the flimsy foundation upon which her engagement rests.
Symbolic of the recklessness and impetuosity of their re-
conciliation, the ride, culminating in a collision with an
animal, reminds the sullen lovers of their physical attract-
ion towards each other, 37 and consequently, reverses Adela's
decision not to marry Ronny: "There was esteem and animal
contact at dusk, but the emotion which links them was ab-
sent. ,.)8 Regardless of her discovery, however, Adela in-
sists on the feasibility of marriage without love and that
to break off the betrothal would be too much trouble. Un-
surprisingly, therefore, she wishes she had physical charm,
which might help strengthen her relationship with her
· /
f l.ance. And in this muddled frame of mind, she enters the
caves.
Some critics have attributed Adela's delusion--
Aziz's attempted rape--to her unconscious lust for sexual
gratification. 39 But this interpretation is unsound.
 86

Though she finds the Moslem physically attractive, she does

"not admire him with any personal warmth, for there was
nothing of the vagrant in her blood".40 Further, as June
Perry Levine argues, Adela's wish for sexual magnetism does
not signify her libido, out herneedtoccb.e. admired. 41 Her
delirium, the outcome of her assertion of this vagary, para-
llels Mrs. Moore's "spiritual muddledom": these are the char-
acters' responses to the caves' indifference, represented
through the echo sYmbol. It is the moment Adela unleashes
the reverberating sound by scratching the wall that she
entirely loses her power of discrimination. Yet, such a
reaction is not an exemplification but a parody of the
principle of non-differentiation epitomized by the caves. 42
Despite her ignorance of its true implication, what the
peevish and dejected Mrs. Moore says of marriage after her
return from Marabar has important bearing upon Adela's fran-
tic behaviour: "And all this rubbish about love, love in a
church, love in a cave, as if there is the least differ-
ence. ,,43 Manifestly, Adela's hallucination is a projection
of her fear and insecurity: refusing to acknowledge the
ultimate sameness of all things--vice and virtue, ugliness
and beauty, illusion and reality, promiscuity and love--as.
well as the futility of her obtuse rationalizations, she
seeks to uphold her confounded individualism, her question-
able concept of marriage without love and her desire for
admiration. Al together, the echo stands for her dubious
 87

conscience. the "barrier between her and the realization

she cannot quite admi t". 4~_ > ~t is only when she wi thdraws
\,.",," .

her accusation at the trial that her echo--the buzzing noise

that hitherto has continually disturbed her--disappears. \
___........l

The only visitor unaffected by the horrific "bourn"

is Aziz. That he is totally insensitive to the caves' sig-
nificance is partly due to his own religious bias--his comp-
lacent acceptance of Islam which he believes to be the ab-
solute truth--and partly to his passionate temperament--his
bent towardshurnan concern rather than metaphysical specula-
tion--a trait that distinguishes him from Mrs. Moore. Sim-
ilarly, with his habitual placidity and rationality, Fielding
does not detect any immediate threat inside the caverns.
His humanism precludes the possibility of his succumbing
to the spirit of the Marabar landscape ; yet, it does no-t
cause him to deny the deep, lasting impact of the setting
upon certain characters and the Indian society at large.
Upon the aftermath of Aziz 's inquisition which turns what
is originally an accident into an international crisis--
the racial hostility between the British and the Indians--
Fielding reflects: "Everything echoes now; there's no stop-
ping the echo. The original sound may be harmless, but the
echo is always evil. ,,45 Insightfully, the school principal
penetrates the essence of the Marabar tragedy. Metaphori-
cally speaking, the echo acts as the chief agent of the
whole crisis. And thus, this man-made rather than spontan-
 88

eous force is pestilent and malicious. Nonetheless, the

echo is not a manifestation of man's innate depravity, but
his illusion, his self-deception and egotistical complac-
ency, which generates human misunderstanding and intolerance.
Although Adela's initial action in the cave--her scratch
against the granite--is innocuous, the detrimental reper-
cussions it engenders occasion Aziz's incarceration, the
widened gulf between his countrymen and the westerners, and
eventually, the split between him and Fielding. But because
of his practicality, Fielding, though perspicuous, can gain
only a partial glimpse into the Marabar Hills. He misses the
profound neutrality and mystical indistinctness of the pre-
historic caves, which differ vastly from the dreary, un-
original echoes. (Understandably, he "could never develop
['the reflection about an echo']. It belonged to the univ-
erse that he had missed or rejected. ") 46 As a result, in
perceiving mystery as a grand muddle, an obfuscation of form
and distinctions that is to be avoided, he overlooks the
possibility that such a disorientation paradoxically effaces
these relative, timely and restrictive human standards, and
discovers the inter-connectedness of creation which intimates
the ultimate order. On the whole, the failure of the Mara-
bar journey betokening the characters' unavailing effort at
communication is a foregone conclusion. The following ex-
tract from the prefatory chapter of the llCaves" section
tellingly serves as a microcosm of the whole endeavour:
 89

••• the visitor arrives f~r his five minutes, and

strikes a match. Immediately another flame rises in
the depths of the rock and moves towards the surface
like an imprisoned spirit: the walls of the circular
chamber have been most marvellously polished. The
two flames approach and strive to unite, but cannot,
because one of them breathes air, the other stone.
A mirror inlaid with lovely colours divides the lov-
ers, delicate stars of pink and grey interpose, ex-
quisite nebulae, shadings fainter than the tail of a
comet or the midday moon, all the evanescent life of
the granite, only here visible •••• The radiance in-
creases, the flames touch one another, kiss~7expire.
The cave is dark again, like all the caves.
Opulently lyrical, the description encapsulates the general
purport of the novel's middle part. Through the light imag-
ery which, as Glen O. Allen suggests, is associated with
intelligence, Forster cogently demonstrates the inadequacy
of reason and, to a certain extent, Christianity (a dis-
criminative, exclusive and therefore limited form of relig-
ion, in the novelist's view) in their attempt to explore the
mystery of the universe. 48 The futile struggle of the
flame wi thin the granite wall to reach the source of light
without is symbolic of the failure of the visitors to
achieve unity with the infinite through their western reli-
~,......~--,"-"".,p.-•.r-,." '

gious conscIousness and analytical training. The hope of

universal brotherhood culminating in the expedition ultim-
~tely wanes, like the final extinguishing of the flames in
the cavern.
Indubitably, Forster's intricate design and con-
vincing treatment render the Marabar episotle remarkably
provocative. It not only illuminates and deepens our ap-
 90

preciation of the develo~ment -of preceding events but also,

by way of the novelist's subtle management, induces us to
want to learn the sUbsequent action in order to attain a
comprehensive picture of the central incident. Moreover,
its elaborate symbolism represented through a realistic
action and solid setting is, in both the ordinary and Fors-
terian sense of the word, "fantastic", thus prompting Fors=
ter to achieve the effect of "prophecy"--our intuitive ident-
ification with his ontological vision. Yet, our praise of
the novelist is not entirely unconditional. For in this
principal episode, as in other passages, Forster is guilty
of overarticulation: his authorial voice routinely intrudes
where actions, events or experiences of the characters
should be speaking for themselves. The following two
quotations plainly illustrate this point:
Like most Orientals, Aziz overrated hospitality,
mistaking it for intimacy, and not seeing that it is
tainted with the sense of possession. It was only
when Mrs. Moore or Fielding was near him that he saw
further, and ~~ew that it is more blessed to receive
than to give.
Incurably inaccurate, he already thought -tha:t~thfus
was what had occurred. He was inaccurate because
he was sensitive. He did not like to remember Miss
Quested's remark about polygamy, because it was
unworthy of a guest, so he put it from his mind, and
with it the knOWledge that he had bolted into a
cave to get away from her. He was inaccurate be-
cause he desired to honour her, and--facts being
entangled--he had to arrange them in her vicinitY50
as one tidies the ground after extracting a weed.
It is evident why both F.R. Leavis and Duke Maskell object
to Forster's "personal" style, his distinguished manner of
 91

composition which "keeps us very much aware of his person-

ality".51 But Maskell's rigorous censure of Forster's
rhetoric--the omniscient narrative voice which aims to
"flatter the reader that he is listening to 'good convers-
ation''',--is callously overstated. 52 In essence, authorial
generalizations constitute as much a prominent feature in
Forster's novels as in George Eliot's. Hers are conveyed
in the first personal mode and chiefly serve as a direct
commentary on the characters' actions; Forster's, "delivered
from outside the book", are not really "unconnected with
anything going on inside it", but are philosophical extens-
ions of the plot. 53 In general, however, Leavis' criticism
that Forster's peculiar craftsmanship involves limitations
is warranted. The omniscient tone of the presenter and
commentator hinders, to a certain extent, the evolvement of
characters and events, and deprives them of the objectivity
necessary for developing the novelist's moral vision to the
fullest effect. For this reason, the Marabar episode is
not entirely successful.

3.
The pessimism of the "Caves" is overWhelming, but
not terminal. The closing sequence of the section--the
trial--offers a gleam of light in an otherwise grim and
_disordered human world, thus making way for our sense of a
"yet possible hope for spiritual integrity"; the crux of the
 92

last part of the novel. 54 Representing Adela's epiphany

and Mrs. Moore's spiritual rebirth, the incident adeptly
exemplifies Forster's "natural supernaturalism". The nar-
rator's concluding comment on the episode is highly reveal-
ing: " ••• before long no one remained on the scene of the
fantasy but the beautiful naked god. Unaware that any-
thing unusual had occurred, he continued to pull the cord
of his punkah, to gaze at the empty dais and the overturned
special chairs, and rhythmically to agitate the clouds of
descending dust. ,,55 Previously introduced as a sight that
indelibly impresses Miss Quested--the Indian slave's physi-
cal grandeur awakens her consciousness of the pettiness of
the trial--the analogy of the untouchable to a supreme
divinity is by no means far-fetched or extravagant. In the
present context, it artfUlly serves as a "parody" or an
"adaptation", the object of which is to present the theme
of the Marabar journey in another light,and thus clarifies
Adela's reappraisal of her experience at the caves. 56 The
image of the punkah wallah is somewhat mock-heroic: the
garbless deity is actually a servant; he is smeared with
earthly toil rather than haloed with heavenly glory; he ex-
ists but acts perfunctorily, and is far removed from the
rest of humanity. Thus, he is not only a personification
of the underlying principle of the caves--the existence of
a transcendent spirit simultaneously obscure and indifferent
to human activities--but also a travesty of,Miss Quested's
 93

mechanical intellectualism, the muddled self-knowledge

which results in ·her alienation. Through this singular
character, she acquires a new-found insight into her plight:
A new and unknown sensation protected her, like
magnificent armour. She didn't think what had
happened, or even remember in the ordinary way of
memory, but she returned to the Marabar Hills, and
spoke from them across a sort of darkness to Mr.
McBryde. The fatal day recurred, in every detail,
but now she was of it and not of it at the same time,
and this double relation gave it indescribable
splendour. Why had she thought the expedition 'dull'?
Now the sun rose again, the elephant waited, the
pale masses of rock flowed round her and presented
the first cave; she entered and a match was reflect-
ed in the polished walls--all beautiful and signifi-
cant, though she had been blind to it at the time •
••• Smoothly the voice in the distance proceeded,
leading along the paths of truth, an37the airs from
the punkah behind her wafted her on.
Adela's defeat at court arising from her withdrawal of the
accusation ironically represents her moral triumph.
Concomitant with Adela's enlightenment is Mrs.
Moore's "fantastic" deification. The latter's death during
her return to England coincides with the moment of her
transformation into a goddess at Aziz's trial. Far from
fanciful, the Indians' invocation of "Esmiss Esmoor" issues
from their compelling wish for Mrs. Moore's presence at the
trial, the only person whom they believe can bring about
Aziz's acquittal. Set in this context, Mrs. Moore's role
as an enduring spirit is technically justifiable; however,
it still poses the problem of thematic conceivability. Sour
and downcast, Mrs. Moore seems to have undergone a drastic
psychic change after the Marabar crisis. Her apathy, the
 94

outcome of her disillusionment with life, finds full ex-

pression in her refusal to testify for Aziz, whom she knows
to be innocent. Thus, Reuben A. Brower jUdges that "the
dramatic preparation for the mystical effect of Mrs. Moore's
influence is lacking or unconvincing. ,,58 But many other
cri tics defend her "resurrection". James McConkey perceives
Mrs. Moore's death as ultimately valuable, and asserts that
she "must die through spiritual exhaustion••• in order that
a new birth, a new growth, may be achieved".59 Frederick
C. Crews contends that her redemption is accomplished
60
through a parody of Hindu enlightenment. Ironically para-
lleling the Katha-Upanishad, "lJfhen all the ties of the
heart are severed here on earth, then the mortal becomes
immortal," Mrs. Moore's very indifference makes it approp-
riate that she turns into a Hindu goddess after withering
out of bodily existence. 61 Likewise, interpreting her
tragic experience as essentially an expression of Indian
mysticism, Frank Kermode labels her "a saint of Nothing-
ness". 62 But these elaborate arguments are ul timately
specious. In general, they do not furnish a credible ex-
planation for Mrs. Moore's spiritual revival. Throughout
her lifetime, she has never really abandoned her position
as a compassionate figure. To a great extent, her bitter
despair during her last days originates in her intense love
for mankind. She is both emotionally and spiritually pulver-
ized, because the grand muddle--Adela's accusation of Aziz's
 95

assault--objectifies and corroborates what she believes the

caves have imparted to her--the insignificance of existence
and the insufficiency of human understanding--a sweeping
obliteration of the inspiriting principle she identifies
with and cherishes. To her, legalistic and moral distinct-
ions become futile: Aziz's exculpation will not in any
sense relieve the squalid human condition. Hence, she stays
away from the trial. Yet, during this woeful time, her
intrinsic loving spirit is never extinguished. Her pessim-
, . ---, .. ~

ism--and inertia do not stop her from informing Adela that

Aziz is innocent, an act which has a great effect on the
result of the trial. And it is this benevolent Mrs. Moore
that survives in the consciousness of the other characters.
As John Beer puts it, Ither vicarious survival is a form of
redemptive immortality. ,,6) Further, her death at sea is
symbolic of her spiritual salvation. Her ultimate vision
_',/.:.-_.""C-'"

~f Asirgarh on the voyage reawakens her soul by presenting

afresh and undespairing picture of India:
••• thousands of coconut palms appeared all round the
anchorage and climbed the hills to wave her farewell.
'So you thought an echo was India; you took the Mara-
bar caves as final?' they laughed. 'What have we in64
common with them, or they with Asirgarh? Good-bye!'
Suitably, Mrs. Moore is proclaimed a goddess by the Indian
multitude in the course of the legal proceedings. Rein-
forcing the punkah wallah' s vitali ty, h~J:'_mystical presence
supplies Adela with a source of strength to rectify her
errOr,d- to adrni t her wrongful indictment of Aziz. Such a
 96

resolution of the trial, though failing to settle the dis-

sension between the British and the Indians, is itself an
affirmation; it implies the possibility that order lurks in
the chaos, that a certain radiance indistinctly illumines
the darkness.
This reassuring idea emerges palpably in "Temple",
the concluding part of A Passage featuring the Gokul Ash-
tami festival. The spiritualized setting of Mau, where the
Hindu religious ceremony takes place, evokes Godbole's
numinous vision of the universe, his extensive though in-
complete sense of love and unity. In many ways, his mystic-
al experience forms an obverse to Mrs. Moore's:
Thus Godbole, though she was not important to him,
remembered an old woman he had met in Chandrapore
days. Chance brought her into his mind while it
was in this heated state, he did not select her, she
happened to occur among the throng of soliciting
images, a tiny splinter, and he impelled her by this
spiritual force to that place where completeness can
be found. Completeness, not reconstruction. His
senses grew thinner, he remembered a wasp seen he
forgot where, perhaps on a stone. He loved the
wasp equally, he impelled it likewise, he was imit-
ating God. And the stone where the wasp clung--
could he .•• no, he could not, he had been wrong to
attempt the stone, logic and conscious effect had
seduced, he came back to the strip of r~3 carpet and
discovered that he was dancing upon it.
The Christian mystic's fervent hope to attain spiritual
union with God dissipates upon her shocking discovery at
the Marabar that the Eternal is devoid of beauty and that
oneness equals nothingness; Godbole's meditation manifests
the essence of Hinduism which aims at completeness through
a blurring of all distinctions, "a frustration of reason
 9-7

and form,,66 typified by the Krishna ritual: "By sacrificing

good taste", Forster remarks, "this worship achieves what
Christianity has shirked: the inclusion of merriment.,,67
The Hindu's vast benignity parallels Mrs. Moore's, the
paragon of love rightfully resurrected in Godbole's mind.
His attitude towards the wasp reminds us of the night in
Chandrapore when Mrs. Moore reveals her essential kindness
by refusing to kill another wasp lying on a coat-peg. Yet,
the Hindu way of love has its limitations: though it makes
a close attempt at spiritual unity and is treated with great
sympathy in the novel, it is nonetheless insufficient to
embody the to tali tyof being, the ultimate truth. Echoing
-the caves, the stone image betokens the presence of an
awesome cosmic reality which Godbole, even at the height of
his religious transport, fails to fathom. His persistent
effort at communication, however, is not entirely fr~it.less.

For though intimating no certain promise of immortality, it

at least affirms life's worth:
It was his duty, as it was his desire, to place him-
self in the position of the God and to love her, and
to place himself in her position and to say to God,
'Come, come, come, come.' This was all he could do.
How inadequate! But each according to his own capac-
ities, and he knew that his own were small. 'One old
Englishwoman and one little, little wasp,' he thought,
as he stepped out of the temple into the grey of a
pouring wet morning. 'It doe@8not seem much, still
it is more than I am myself.'
Despite the general recognition that the Mau festi-
val graphically demonstrates Forster's refined sensitivity,
 98

thoughtfulness and wit as a w~iter, the scene exposes one

of the novelist's principal deficiencies--the mistiness of
his style. Of course, Forster rightfully deserves our com-
mendation for perceptively discerning the vastness of his:
metaphysical preoccupation--the accessibility of the infin-
ite--which no single philosophy or religion can wholly un-
ravel. The various faiths presented in A Passage to India
are ultimately ineffectual. The novelist's basic charge
against Islam is that despite its emphasis on personal
relationships ("communion with a fellow-creature,,)~9 a con-
cern compatible with the Forsterian creed and concretely
dramatized through the friendship between Aziz and Mrs.
Moore in the first part of the novel, the faith seems to
stress temporal existence at the expense of spiritual life,
making little effort to seek transcendental union with God,
a neglect which renders the religion somewhat dissatisfying.
As Fielding says, '''There is no God but God" doesn't carry
us far through the complexities of matter and spirit; it is
only a game with words really, a religious pun, not a re-
ligious truth.,7 0 The inadequacy of Christianity is large-
ly manifested in "Caves", but it emerges sharply early in
the novel. Contending that within heaven itself there are
special mansions for the specially elect and that though
divine hospitality may well b~ extended to all animals, it
draws the line at the insects, the discussion between the
two English missionaries, Mr. GraYf~rd and Mr;. Sorley,
 99

symbolically represents the common Christian conception of

love as distinct from the exceptional, mystical Mrs. Moore's,
and consequently betrays the fundamental rigidity and exclu-
siveness of this religion: "We must exclude someone from
----~-'-'-

our gathering or we shall be left with nothing. ,,71 Even

Hinduism, which is so sensitively portrayed in the novel's
last section, does not provide for Forster the final ans-
wer. What makes it such a vital form of religion, as the
--.
novelist appreciatively shows in his description of the Mau
festival, is the Hindu ideal of oneness; yet, its disorderly
approach is no less than an abolition of the "intellectual
sani ty" that renders existence endurable to the Western
mind. 72 Thus Forster writes of the Krishna procession in
one of his letters: "There is no dignity, no taste, no form,
and though I am dressed as a Hindu I shall never become
one. ,,73 " Obviously, the novelist's profound scepticism is
;

rooted ihnis estimation that the universe is not man-cent~._,>\

red, that human beings are no more significant than beasts ' ) \
.......,\

and plants in view of their ignorance of the ultimate truth~

__ ........,_:J

Given this extremely difficult task of presenting his vision

of the infinite in fiction, a subject which inherently does
not lend itself to dramatization, we credit Forster both for
attempting and nearly accomplishing his grand purpose.
Certainly, the notion of man's puniness and ephemerality
manifests itself tellingly through Mrs. Moore's horrific
experience in the caves. Nevertheless, Forster is some-
 100

times obscure and misleading in his postulation of a "prop-

er impersonality ll7 4 represented in Godbole's beatific
vision of oneness. As seen in the passage depicting the
Hindu's mystical experience, the kind of poetic language is
injudiciously elusive. Its weakness becomes most explicit
once we fasten our critical notice upon the central stone
image on which the message of the whole scene rests. While
the metaphor points to Forster's good cornmon sense in per-
ceiving that the mystery of the universe cannot be under-
stood in full, its strongly negative overtones sabotage the
novelist's original intention to supply evidence of the pos-
sibility of cosmic unity, of peace that passes all under-
standing. Here, the author's ironic realism jars with his
solemn mysticism.
If Forster stumbles in his handling of the question
of divine union, he excels in "his portrayal of the human
world. And the closing scenes unequivocally prove that he
is above all a prophetic novelist of personal relations. 75
Remarkably, the characters' boat collision towards the end
of the Hindu ceremony raises hope for the prospect of univ-
ersal love. Vivid and compelling, the incident occurs as a
resul t of Aziz' s attempt to pay homage to Mrs. Moore's son,
Ralph, by taking him off shore to observe the ritual of the
"birth of Krishna. Paralleling this positive act accomp-
lished in such a spiritualized context--the immersion of
the Hindu God emblematic of salvation--the smash-up of
 101

Aziz's skiff and Fielding's ~ymbolically restores their

friendship. Upon discovering that Fielding's wife is actu-
. ally Stella, Mrs. Moore's daughter who is involve d in the
accident, Aziz's previous misconstruction of the school-
master's motive in marrying Stella is rectified.
Such a reconciliation is, however, highly qUalif-
ied. The final scene portraying the parting between Aziz
and Fielding magnificently evinces Forster's profound ob-
jectivity in his refusal to draw a facile representation of
reality and his unfailing conscientiousness in his attempt
to hint at, in Arnold Kettle's words, "the unpredictable
element in the most fully analyzed relationship". 76 On a
personal level, Aziz and Fielding are reunited. But circ-
umstances--the antipathy between their native countries--
make their separation inevitable. "Passage", or universal
brotherhood, seems to be contingent upon even greater and
relentless effort by individuals like Aziz and Fielding.
This sense of uncertainty is poignantly evoked by the
haunting Indian landscape through which the two characters
ride in their last encounter:
' ••• We may hate one another, but we hate you most.
If I don't make you go, Ahmed will, Karim will, if
it's fifty five-hundred years we shall get rid of
you, yes, we shall drive every blasted Englishman into
the sea, and then'--he rode against him furiously--
'and then,' he concluded, half kissing him, 'you and
I shall be friends.'
'Why can't we be friends now?' said the other,
holding him affectionately. 'It's what I want. It's
what you want. '
But the horses didn't want it--they swerved apart;
 102

the earth didn't want it, -sending up rocks through

which riders must pass single file: the temples, the
tank, the jail, the palace, the birds, the carrion,
the Guest House, that came into view as they issued
from the gap and saw Mau beneath: they didn't want
it, they said in their hundred voi'7s, 'No, not yet,'
and the sky said, 'No, not there.'
This forceful and ambiguous ending nonetheless incurs some
criticisms. Kettle casts doubt on Forster's attempt to
generalize on the basis of the relationship between Aziz
and Fielding. 78 Because of the characters' inclination to
lapse into wistfulness, their refusal to be heroic "which
may be very human but ••• is also less than human", he quest-
ions: "But might not friendship with Aziz have been possible
had Fielding been prepared to go a little further ,to re-
nounce rather more than he was prepared to renounce of the
imperialist attitude?tl79 A similar objection is raised by
Gertrude White who develops Lionel Trilling's argument that
most of the characters of A Passage to India are sufficient
for the "plot"--the tale of Aziz's tragically unsuccessful
attempt to overcome the fences and barriers that sever him
from Mrs. Moore and Adela--but not large enough for the
"story"--"the cosmic stage on which [Aziz' sJ adventures are
played". 80 Though realizing "the uselessness of attempts
at friendship and union", she says, "[AzizJ never appre-
hends the real significance of his own ordeal nor relates
it to the ordeal of India and of the whole world. ,,81 Thus,
this structural uncertainty, the incongruity _in the relat-
ion of plot to story, demonstrates the primary flaw of the
 103

novel--Forster's failure to bridge "the gulf between sym-

bol and reality". 82
Both Kettle and White seem to have missed Forster's
point. The former is probably just in calling the novel-
ist "spinsterish"; it is hard to escape the impression of a
vague quaintness and obstinacy about all of Forster's char-
acters. Yet, particularity of temperament does not prevent
Aziz and Fielding from achieving the secret understanding
of the heart which, as June Perry Levine suggests, is re-
vealed by "the whole tenor of the conversation" in the con-
cluding episode. 83 It is only the larger forces of time
and place--the historical background as well as the exist-
ing social and political conditions of India--that divide
them. Likewise, there is some truth in White's recognition
of the disharmony between the realistic and the symbolic
in A Passage to India. But this appraisal is irrelevant to
the final scene. Here Forster's aim is to show that the
ultimate separation between the Indian Moslem and the
English humanist results from their failure to comprehend
the larger ramifications of their own action. As Trilling
comments, "the characters are in the events, the events are
not in them. ,,84 The ending of the book is not really pes-
simistic. Rather, it embodies the novelist's all-encompas-
sing vision of human experience: life is at once a muddle
and a mystery. Men's incomplete knowledge certainly gener-
ates confusion and chaos, but it also results in their
 104

constant search for order and mutual understanding, the

act of which alone ensures the continuity and vitality of
existence. Altogether, the closing episode exemplifies
Fors·ter's masterly coalescence of "fantasy" and reality.
In the final analysis, he is a "prophetic" novelist.

4.
The verisimilitude of plot and setting is matched
by Forster's piquant characterization in A Passage to India.
By and large, the characters are full and vibrant, unlike
those in Howards End. Most of the major "fantastic" and
naturalistic figures perform their symbolic roles neatly.
On the whole, their interplay serves prophetically to repre-
sent the novelist's humanistic vision.
A Passage contains a multitude of characters split
into two camps: Indian and British. Most of these figures
are types distinguished by their mutual distrust because
of their cul tural differences. But their "flatness" does
not blur their individuality; they are broadly informed
with a creative energy which renders them vivacious and
engaging. Among the more notable minor Indian characters
are the Nawab Bahadur who disapproves of superstition but
nonetheless believes in ghosts, Hamidullah who wistfully
muses upon his happy days in Cambridge in contrast with
the tumultuous life in Chandrapore, and Mahmoud Ali whose
cynicism about the British climaxes in an outburst in ob-
 105

j ection to the proceedings o-f Aziz t s trial. On the English

side, there are, among others, Major Callendar, the Civil
Surgeon, who frowns upon Aziz's queer manner though he
recognizes his expertise as a physician; Mr. Turton, the
sincere but jingoistic Collector; Mr. McBryde, the quirky
District Superintendent of Police who theorizes that nat-
ives residing south of latitude thirty are criminals at
heart; and, of course, Ronny (Mrs. Moore's son), the some-
what pusillanimous and superficial City Magistrate who con-
forms to the superior attitude displayed by his fellow
expatriate officials. Together, these characters create a
panorama of the complexity and multi-levelled profusion of
Indian society.
The "round" characters are even more arresting.
Both Adela and Fielding stand out as remarkable individuals
in the novel. .For the most part, the former is distinguished
by her irksome donnishness, her want of imagination. Yet,
to stamp her as a type devoid of emotio~ depth is decid-
edly shortsighted. For, like Lucy Honeychurch in A Room
with a View and Rickie Elliot in The Longest Journey, she
is largely a figure unable to connect head and heart.
Aziz's trial occasions her self-discovery, and her convers-
ation with Fielding shortly afterwards finely illustrates
that, to some degree, she achieves such an integration:
'Let us call it the guide,' she said indiffer-
ently. 'It will never be known. It's as if I ran
my fingers along that polished wall in the dark, and
 106

cannot get further. I am up against something, and

so are you. Mrs. Moore--she did know.'
'How could she have known what we don't?'
'Telepathy, possibly.'
The pert, meagre word fell to the ground. Tele-
pathy? What an explanation! Better withdraw it,
and Adela did so. She was at the end of 'her spirit-
ual tether, and so was he. Were there worlds beyond
which they could never touch, or did all that is
possible enter their consciousness? They could not
tell. They only realized that their outlook was
more or less similar, and found in this a satisfact-
ion. Perhaps life is a mystery, not a muddle; they
could not tell. Perhaps the hundred Indias which
fuss and squabble so tiresomely are one, and the
universe they mirror8~s one. They had not the ap-
paratus for judging.
Here, in spite of her rationality, Adela shares Mrs.
Moore's intuitive wisdom, which deepens her respect for the
loving old lady as well as broadens her world perspective,
thus allowing her to appreciate the inscrutability of the
universe. And it is this Adela, the tolerant rationalist,
with whom Aziz associates the most sacred name in his mind
--Mrs. Moore.
The same scene also portrays Fielding as a charac-
ter replete with sense and sensibility. The author's chief
spokesman, he epitomizes the Forsterian creed that men
thrive by the help of "good will plus cul ture and intelli-
gence".86 His roundness lies mainly in his unflinching
efforts at fellowship as well as his constant evaluation of
his own principles. The end of the discussion between
Fielding and Adela testifies to the man's integrity:
A friendliness as of dwarfs shaking hands, was
in the air. Both man and woman were at the height of
their powers--sensible, honest, even subtle. They
 107

spoke the same language, and held the same opinions,

and the variety of age and sex did not divide them.
Yet they were dissatisfied. When they agreed ••• the
words were followed by a curious backwash as though
••• they had seen their own gestures from an immense
height--dwarfs talking, shaking hands and assuring
each other that they stood on the same footing of in-
sight. They did not think they were wrong •••• But
wistfulness descended on them now, as on other occas-
ions; the shadow of the shadow of a dream fell over
their clear-cut interests, and objects never seen
again seemed messages from another world.
'And I do like you so very much, if I may say
so,' he affirmed.
'I'm glad, for I like you. Let's meet again.' 87
'We will, in England, if I ever take home leave.~
The passage firmly establishes the friendship between the
schoolmaster and the departing English lady. The immediate
impact of the Marabar incident on Fielding is that he be-
comes plaintive and disheartened, dOUbting the achievement
of forty years of social relationships as well as question-
ing whether he is "really and truly successful as a human
being".88 But at this juncture, he, like the enlightened
Adela, comes to realize the profundity of life, which no
faith--not even his extensive liberalism--is sufficient to
gauge. And Fielding's humility, his consciousness of his
inadequate understanding, bespeaks his mettle and large-
ness of vision. Rather than a mere sYmbol, he emerges as a
genuine humanist.
Widely hailed as Forster's most brilliant creation,
Aziz is absorbing, lively and exhaustively developed. 89
A romantic at heart, he is reminiscent of Helen Schlegel
in Howards End. But while the latter is no more than a
 108

banner of her own faith--the supremacy of passion and imag-

ination, of the inner world into which she recedes--the
former is sUbstantially human. Throughout the novel, Aziz
strikes us as being capricious, warmly sensitive (though
sporadically egocentric), and vaguely mystical. The trial
transforms him into a bitterly disillusioned man whose warm
hospitality has yielded to an abstract aversion for the
British and a distrust of Fielding (whom he suspects ofhav-
ing fallen in love with Miss Quested). Still, beneath the
surface of this angry, uncompromising Mohammedan is an
idealist who sedulously believes in "the secret understand-
ing of the heart". His encounter wi th Ralph, Mrs. Moore's
youngest son, at Mau is illustrative:
'I must go back now, good night,' said Aziz, and
held out his hand, completely forgetting that they
were not friends, and focusing his heart on something
more distant than the cav.es, something beautiful.
His hand was taken, and then he remembered how de-
testable he had been, and said gently, 'Don't you
think me unkind any more?'
'No. '
'How can you tell, you strange fellow?'
'Not difficult, the one thing I always know.'
'Can you always tell whether a stranger is your
friend? '
'Yes.'
'Then you are an Oriental.' He unclasped as he
spoke, with a little shudder. Those words--he had
said them to Mrs. Moore in the mosque in the begin-
ning of the cycle, from which, after so much suffer-
ing, he had got free. Never be friends with the
English! Mosque, caves, mosque, caves. And here he
was starting again. He handed the magic ointment
to him. 'Take this, think of me when you use it. I
shall never want it back. I must give you one lit-
tle present, ~ed it is all I have got; you are Mrs.
Moore's son.'
Aziz's initial animosity towards Ralph--evident in the bru-
 109

tali ty with which he applies- medication to the English boy

plagued by bee-stings--dissolves in the course of their
conversation. The Aziz who befriends this youth is, of
course, the same impassioned and intuitive Indian doctor
who achieves an enduring relationship with Mrs. Moore, and
who eventually resolves his differences with Fielding. As
a sympathetic protagonist, Aziz is always convincing.
But the "fantastic" characters (with one prominent
exception) are not quite so successful. As visionary fig-
ures modelled after their mother (Mrs. Moore), Ralph and
Stella are notably thin. The son partakes of his mother's
spirit to the point that it effaces his own identity; hence,
as can be seen in his accidental meeting with Aziz, Ralph's
mysticism wants the resonance which would render it unaf-
fectedly plausible. Similarly, Fielding's reference to
Stella's uncommon point of view and his remark that she is
"after something" are trifling evidence of her discernment
of the infinite. 91 In brief, the children's late appear-
ance in the book allows them little time and space to mat-
ure as fully developed individuals.
Forster's handling of Professor Godbole is likewise
objectionable--though for significantly different reasons.
Many critics agree that the Brahman is the most "psychic"
of the characters. In a sense, his Hindu mysticism draws
him nearer to comprehending the Marabar caves than Mrs.
Moore. By immersing himself in the elemental world, how-
 110

ever, he suffers from the same defect as Ruth Wilcox: both

of them move awkwardly among their human companions. 92
The scene delineating Godbole's view of Aziz's arraignment
is indicative of the Hindu's ponderousness as a "fantastic"
figure:
'I am informed that an evil action was performed
in the Marabar Hills, and that a highly esteemed
English lady is now seriously ill in consequence. My
answer to that is this: that action was performed by
Dr. Aziz.' He stopped and sucked in his thin cheeks.
'It was performed by the guide.' He stopped again.
'It was performed by you.' Now he had an air of
daring and o£ coyness. 'It was performed by me.'
He looked shyly down the sleeve of his own coat.
'And by my students. It was even performed by the
lady 'herself. When evil occurs, it expresses the
whole of the universe. Similarly when good occurs.'
'And similarly when suffering occurs, and so
on and so forth, and everything is anything and noth-
ing something,' Fielding mutt~Jed in his irritation,
for he needed the solid ground.
Godbole's spiri tuali ty, his total identification with his
own philosophy, is adroitly drawn. Yet, absorbed in his
vision of the transcendent reality, the Brahman does not
seem to have any role on the human stage. Predominantly,
his language is crabbed and airy, so much so that it fre-
quently verges on the absurd. Though acting primarily as
a mystic capable of little social interaction, Ruth v'Jilcox
does at times manifest her sharp feminine sensibilities.
But nowhere in A Passage to India does Godbole show that
he is actually a flesh-and-blood character. His metaphysics
simply eclipses his human identity.
By contrast, lftrs. Moore is superbly realistic as
 111

Godbole's counterpart. Compounded with her phenomenal in~

stinctive knowledge is a far-reaching compassion which

makes her supremely htuoan. For this reason, the charge
laid by some critics that she is never vitally related to
the people and events around her is rather obtuse. 94 The
exchange between her, Adela and Ronny after the Marabar
trip subtly reveals her basic 'humanity:
~~s. Moore came back, with the same air of ill-
temper, and sat down with a flump by the card-table.
To clear the confusion, Ronny asked her point-blank
whether she had mentioned the prisoner •••• She replied:
'I never said his name,' and began to play Patience.
'I thought you said, "Aziz is an innocent man,"
but it was in I\'Ir. Fielding's letter.,'
'Of course he is innocent,' she answered in-
differently: it was the first time she had expressed
an opinion on the point.
'You see, Ronny, I was right,' said the girl.
'You were not right'9~he never said it.'
'But she thinks it.'
Obviously, Mrs. Moore is no less perturbed than Adela,
the victim of the Marabar crisis. Yet, her defence of
Aziz, a quiet hint that Adela has unjustly accused him,
exhibits Mrs. Moore's intuitive acumen and esteem for
friendship, regardless of 'her glumness and bewilderment.
It is, therefore, not surprising t'hat this chari table
figure lives on in people's hearts after her death.
Substantially achieving a fusion between the kingdoms of
fact and "fantasy", Mrs. Moore is exuberantly '''prophetic''.
Her success as a "redemptive tl
character saliently affirms
Forster's stylistic virtuosity.
 NOTES-

1Much of the material in A Passage to India is

based on Forster's travels in India recorded in his let-
ters and journals. Further, the war corroborated Fors-
ter's recognition of the squalor of modern civilization;
and such a picture provides the discordant backdrop
against which the characters struggle to achieve peace and
understanding in the novel.
2
E.M. Forster, A Passage to India (Middlesex: Peng-
uin, 1973), pp. 9-11.
3wayne C. Booth, The Rhetoric of Fiction (Chicago:
The University of Chicago Press, 1961), p. 108.
4Forster, A Passage, p. 21.
5Ibid ., p. 24.
6 Ibid ., p. 21.
7Reuben A. Brower, "The Twilight of the Double Vis-
ion: Symbol and Irony in A Passage to India" in his The
Fields of Light (London: Oxford University Press, 1951),
p. 185.
8
Forster, A Passage, p. 20.
9 - , "The Mosque" in Abinger Harvest (Middle-
sex: Penguin, 1976), p. 294.
10 , A Passage, p. 43.

11Arnold Kettle, An Introduction to the English Novel,

Vol. II (London: Hutchinson, 1953), p. 140.
12Forster, A Passage, p. 68.
13 Ibid ., p. 253.
14Ke ttle, Introduction, p. 137.
15Forster, A Passage, pp. 77-78.
16 ~.,
bOd pp. 51 -52.
17Kettle, Introduction, p. 140.
18Forster, "Jane A
us ten
" In Ab lnger Harves t ,p. 162 •
0 0

112
 113

19Henry James, The Art of the Novel (New York:

Charle s Scribner's Sons, 1934), p. 56.
20Forster, A Passage, pp. 130-131.
21 P.N. Furbank and F.J.H. Haskell in Malcolm Cowley
ed., Writers at Work: the 'Paris Review' interviews (New
York: The Viking Press, 1958), p. 34.
22Forster, A Passage, p. 126.
23 Ibid ., p. 124.
24Ibid ., p. 125.
25 Ibid ., p. 124.
26wilfred Stone, The Cave. and the Mountain (Stanford:
Stanford University Press, 1966), p. 307. See also Lionel
Trilling, E.M. Forster, p. 157.
27Forster, A Passage, p. 145.
28 Ibid ., p. 147.
29 Ibid ., p. 175.
30Ibid., p. 203.
31Ibid., p. 203.
32Frederick P.W. McDowell, E.M. Forster (New York:
Twayne Publishers, 1969), p. 107.
33Forster, A Passage, p. 203.
34Ibid., p. 148.
35 Ibid ., p. 67.
36Ibid., p. 67.
37John Beer, "The Undying Worm" in Malcolm Bradbury,
ed., E.M. Forster: A Passage to India (London: Macmillan,
1970), p. 199.
38Forster, A Passage, p. 150.
39Among these critics are Frederick C. Crews who
maintains that "the echo that is metaphorically sounded in
Adela's hallucination••• of sexual attack is that of her un-
 114

voiced desire for physical love." See E.M. Forster: The

Perils of Humanism,~p. 159. In more or less the same
terms, Wilfred Stone suggests that "Adela no doubt suf-
fered a form of sexual hysteria." See The Cave .. and the
Mountain, p. 335.
40Forster, A Passage, p. 151.
41June Perry Levine, Creation and Criticism: A
to India (Lincoln: University of Nebraska Press, 1971
92.
42 Ibid ., p. 179.
43Forster, A Passage, p. 197.
44Lev~ne,
" Crea t"~on an d Cr~"t"~c~sm,
" p. 93 •
45Forster, A Passage, p. 269.
46 Ibid ., p. 269.
47 Ibid ., p. 125.
4B Glen o. Allen, "Structure, Symbol and Theme in A
Passage to India", PMLA, LXX (December, 1955), p. 943. -
49Forster, A Passage, p. 141.
50Ibid., p. 156.
51F • R • Leavis, The Common Pursuit, p. 275.
5 2Duke Maskell, "Style and Symbolism in Howards End", p.
299.
53 Ibid ., p. 299.
54Edwin Nierenberg, "The Prophecy of E. M. Forster",
Queens Quarterly, XXV (June, 1964), p. 196.
55Forster, A Passage, p. 224.
56 --------, Aspects, p. 124.
57 , A Passage, pp. 221-222.

58Brower, "The Twilight of Double Vision", p. 197.

59James McConkey, The Novels of E.M. Forster, p. 85.
60crews, Perils of Humanism, p. 160.
 115

61 Ibid ., p. 160.
62 Frank Kermode, "The One Orderly Product" in his
Puzzles and E i hanies: Essa s and Reviews 1 8-1 61 (Lon-
don: Routledge & Kegan Paul, 19 2), p. 85.
63Beer , liThe Undying Worm", p. 210.
64Forster, A Passage, p. 205.
65 Ibid ., pp. 281-282.
66 Ibid ., p. 280.
67 Ibid ., p. 284.
68 Ibid ., p. 286.
69Forster, "Salute to the Orient" in Abinger Harvest,
p. 291.
70 , A Passage, p. 269.
71Ibid., p. 38.
72crews, Perils of Humanism, p. 183.
73 p •N• Furbank, E.M. Forster: A Life (New York:
Harcourt Brace Jovanovich, 1977), 1.1, 90.
74Leavis, The Common Pursuit, p. 274.
75Brower, "The Twilight of the Double Vision", p. 197.
76Kettle, Introduction, p. 146.
77Forster, A Passage, p. 317.
78Kettle, Introduction, p. 142.
79 Ibid ., p. 142.
80Gertrude White, "A Passage to India: Analysis and
Revaluation", PMLA, LXVIII (September 1953), p. 654.
81 Ibid ., p. 654.
82 Ibid ., p. 655.
83Levine, Creation and Criticism, p. 188.
84Trilling, E.M. Forster, p. 147.
 116

85Forster, A Passage, p. 256.

86 Ibid ., p. 62.
87 Ibid ., p. 257.
88Ibid ., p. 187.
89McDowell, E.M. Forster, p. 119.
90Forster, A Passage, p. 306.
91Ibid., p. 314.
92whi te, "A Passage to India: Analysis and Revaluat-
ion", p. 654.
93Forster, A Passage, p. 175.
9 4 See White, "A Passage to India: Analysis and Re-
valuation", p. 654. See also Brower, "The Twilight of the
Double Vision", p. 197.
95Forster, A Passage, pp. 199-200.
 CONCLUDING NO TE

Forster's reputation, eminent though it may be, is

based on a comparatively limited output. The entire body
of his work consists merely of six novels, three volumes of
short stories, as well as some critical and journalistic
writings. Nonetheless, it is an impressive canon. Together
with other literary and social criticisms, Aspects of the
Novel attests to Forster's sensitivity and his keen percept-
ion. Likewise, the novels affirm his artistic genius.
Fusing form and substance, A Passage to India particularly
represents a sublime aesthetic achievement. It distinguishes
Forster as a consummate and enduring twentieth century
artist.
Though falling short of the success of A Passage,
Forster's earlier fictional works are still interesting and
not to be slighted. For all together,- they reveal the process
by which he grows and matures into an accomplished novelist.
The short stories are "fantasies" aimed at exposing human
folly. In doing so, however, they crUdely divide humanity
into black and white by dramatizing the contrast between
two conflicting worlds--the real and the supernatural. The
results are generally dubious. The two early novels--Where
Angels Fear to Tread and A Room with a View--essentially
embody a similar moral framework. Yet, they are more

117
 118

credible "fantasies" because they are able to present the

numinous element--the norm representing Forster's notion of
a rich and vigorous existence--much less obtrusively than
the short stories. In Angels especially, the novelist
manages to integrate realism and symbolism; thus, he vivi'clly
manifests the weaknesses of mankind by opposing inner truth
and outer convention. The Longest Journey and Howards End
are more sophisticated and ambitious than the Italian
novels. Conceptually, they resemble A Passage to India in
their attempt to achieve the effect of "prophecyll--the
reader's intuitive grasp of Forster's ontological vision--
through "fantasy". By synthesizing the real and the mystic-
al, Forster endeavours forcefully to convey his idea of
reality based on the connection between materialism and
spirituality, between the mortal realm and the infinite.
But ultimately, neither of these novels completely fuses
the author 1 s moral emphasis with his dramatic technique.
still, we should not exaggerate the importance of such
weaknesses. Even at his lowest ebb, Forster never ceases
in his attempt to intimate the value of mortality, to avoid
facile generalizations about human existence; he iS,at his
best, tough-minded, conscientious and profoundly compassion-
ate. He is also a writer of abiding strength, radically
manifested in the ultimate realization of his grand theme
in A Passage to India. The novelist himself finally epit-
omizes the vital, creative force he seeks to portray in his
 119

fiction.
 BIBLIOGRA-PHY

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--------. The Longest Journey. New York: Vintage, 1962.
--------. A Passage to India. Middlesex: Penguin, 1973.
--------. A Room with a View. Edited by Oliver Stally-
brass. Middlesex: Penguin, 1978.
--------.. Two Cheers for Democracy. Middlesex: .Penguin,
1976.
--------. Where Angels Fear to Tread. New York: Vintage,
1920.

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