1st Q: I find Trimingham's character to be revealed in an honest sense when Leo converses with him; although they're both aware of his status (as Leo eventually discovers on first talking to him, Ch 6) this doesn't stand in the way of him offering to be called 'Hugh' instead of 'Lord', almost allowing an impression of equality as Trimingham then also prefers to call Leo by his first name. Perhaps this suggests Trimingham to have an aspect of kindness and patience, also shown by helping Leo to understand 'titles' and how one addresses a lord. After Leo finds the truth, his perceptions rapidly change this character into something divine and 'glorious', which then affects our views by using a colon before stating 'he was a lord first...', deliberately showing that Hartley wants to display Leo's confidence in examining this character.
Arguably similar to how Ted treats Leo in order to carry out a favor, Trimingham also uses a slight politeness and flattery towards him, saying it would be 'useful' and 'kind' of Leo to 'take her a message'. Within this, it could be said that Trimingham's language also uses the naivety of Leo to manipulate his actions.
2nd Q: Ironically before Marian's change in temperament, we imagine a scenario created by Leo's fantasy; Marian being apart of a story with 'acts of charity and rescue work among the needy villagers' (interpretation leading to how perhaps Leo feels she treats him, the 'needy'), further elevating our perception by mentioning her 'beauty'. This all adds to a strong sense of change, in both Leo and the reader, regarding to Marian's character.
Is there a sense at times that Leo is trapped by the language that he employs, it elevates him to the heights of adult diction, but wuite often the topics of conversation are contrivance of an infantile or juvenile mind. Is Hartley showing that the adult world poisons the child's world?
yes definitely he could be trapped; he's being dishonest with himself by using grander language - implying that he does understand the adult world - but by his reactions, and the readers positioning which allows us to understand, we can see his dialogue does not coincide with his knowledge.
2nd Q continued:...which dramatically changes in both her physical appearance and dialogue. Particularly interesting is the juxtaposed description of her eyes, from 'blue' and 'wide', to a 'brow' that 'darkened' and 'eyes blazed'. Here perhaps Hartley intends to demonstrate how fickle those in this society lived; when the slightest of things didn't go as they wished, they were quick to become fiery and sharp to their opposition, typically a childish attribute to have. Or, Hartley just wants to show a flash of spiteful reality lying beneath Marian's innocent facade.
I love the idea that it creates an understanding of her 'fickle nature' and that her class is also like this! Is, perhaps, the world of the upper class somewhat like a child's world in its grand naivety? By the time society catches up to 1952 and the older Leo, the world is finally able to reflect on the destructive folly of its youth?
Yes, totally agree that it's a childish world (which is ironic because it seems out of reach to Leo). And yes, the world is able to reflect, consequently Hartley translates this within the story.
1st Q: I find Trimingham's character to be revealed in an honest sense when Leo converses with him; although they're both aware of his status (as Leo eventually discovers on first talking to him, Ch 6) this doesn't stand in the way of him offering to be called 'Hugh' instead of 'Lord', almost allowing an impression of equality as Trimingham then also prefers to call Leo by his first name. Perhaps this suggests Trimingham to have an aspect of kindness and patience, also shown by helping Leo to understand 'titles' and how one addresses a lord. After Leo finds the truth, his perceptions rapidly change this character into something divine and 'glorious', which then affects our views by using a colon before stating 'he was a lord first...', deliberately showing that Hartley wants to display Leo's confidence in examining this character.
ReplyDeleteArguably similar to how Ted treats Leo in order to carry out a favor, Trimingham also uses a slight politeness and flattery towards him, saying it would be 'useful' and 'kind' of Leo to 'take her a message'. Within this, it could be said that Trimingham's language also uses the naivety of Leo to manipulate his actions.
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ReplyDelete2nd Q: Ironically before Marian's change in temperament, we imagine a scenario created by Leo's fantasy; Marian being apart of a story with 'acts of charity and rescue work among the needy villagers' (interpretation leading to how perhaps Leo feels she treats him, the 'needy'), further elevating our perception by mentioning her 'beauty'. This all adds to a strong sense of change, in both Leo and the reader, regarding to Marian's character.
ReplyDeleteGood stuff Jodie - first again! Mini egg for you!
ReplyDeleteIs there a sense at times that Leo is trapped by the language that he employs, it elevates him to the heights of adult diction, but wuite often the topics of conversation are contrivance of an infantile or juvenile mind.
Is Hartley showing that the adult world poisons the child's world?
yes definitely he could be trapped; he's being dishonest with himself by using grander language - implying that he does understand the adult world - but by his reactions, and the readers positioning which allows us to understand, we can see his dialogue does not coincide with his knowledge.
DeleteThis comment has been removed by the author.
ReplyDeleteThis comment has been removed by the author.
Delete2nd Q continued:...which dramatically changes in both her physical appearance and dialogue. Particularly interesting is the juxtaposed description of her eyes, from 'blue' and 'wide', to a 'brow' that 'darkened' and 'eyes blazed'. Here perhaps Hartley intends to demonstrate how fickle those in this society lived; when the slightest of things didn't go as they wished, they were quick to become fiery and sharp to their opposition, typically a childish attribute to have. Or, Hartley just wants to show a flash of spiteful reality lying beneath Marian's innocent facade.
ReplyDeleteI love the idea that it creates an understanding of her 'fickle nature' and that her class is also like this! Is, perhaps, the world of the upper class somewhat like a child's world in its grand naivety? By the time society catches up to 1952 and the older Leo, the world is finally able to reflect on the destructive folly of its youth?
DeleteYes, totally agree that it's a childish world (which is ironic because it seems out of reach to Leo). And yes, the world is able to reflect, consequently Hartley translates this within the story.
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