The Betrayal Of Childhood Innocence English Literature Essay

In this novel, I feel that one of the major subjects is the loss of artlessness and Leo is the character to whom the loss and treachery of artlessness, particularly childhood artlessness is referred to. I feel that “ artlessness ” should be defines as the province of being sinless or innocent with evil and “ treachery ” as the act of breeching trust and unwraping information to score. This I feel is Marian ‘s chief aim in the novel and to person extent she succeeds.

The novel is set as a first individual narrative which means that Leo ‘s ideas and feelings are the chief part to the novel. I feel that the Prologue and Epilogue at the beginning and terminal of the chief narrative are really of import in puting the novel and assisting me ( the reader ) in understanding where Leo ‘s memories and ideas come from. Besides the reader of the fresh finds themselves reading mentions to Leo ‘s letters and journal which besides help the reader relive the events and occurrences of that summer at Brandham Hall. I, myself, as the reader, besides see that Hartley has incorporated remarks by the 1952 Leo in the chief 1900 narration. Besides, the narrative peculiarly serves Hartley ‘s involvement in the kid ‘s imaginativeness, doing me ( the reader ) live in the kid ‘s head for the most portion, and uncovering to us both the kid ‘s vision of the universe and his inventive life.

The chief character in the novel, Leo Colston, is a 12/13 twelvemonth old male child who has many insecurities. He is besides a really sensitive and introspective character- he is “ like ( his ) female parent, sometimes up and sometimes down ” . Leo ‘s sensitiveness is extended and widespread, for illustration, he feels for Lord Trimingham and efforts to decrease the reverse when Marian is unkind to him. Besides, he is hard-pressed to see Ted Burgess agonizing in relation to his fondnesss for Marian when he calls upon him for the last clip. Leo ‘s incomprehension is besides a characteristic trait of the kid ‘s head, and this therefore contributes to the word picture. In Chapter 20, page 207, Leo offers a suggestion: “ I did n’t cognize what to do of this, was she stating she was sorry, as Ted had ” , and so has to fall back to thinking, but from a retrospective position of the episode: “ Afterwards I guessed why she said Ted was silly… But it did n’t happen to me so, and I said, with unconscious inhuman treatment ” ( Chapter 20, page 211 ) . I feel that this portion of the character that is Leo Colston is made good to a certain extent by the comments and justifications of the storyteller, but which constitutes a agency of indirect word picture. Throughout the Go- Between, it frequently happens that Leo narrates facts without understanding their existent significance, peculiarly the undertones in a conversation. Another portion of Leo ‘s character is seen, when he is disquieted. This occurs when he learns that the messages he has been transporting are love letters, and he is desolated at the idea that Marian has non lived up to his idyllic version of her. On the other manus, he identifies the power of the desirableness between Marian and Ted, and persists to love her, pouring out his psyche for her in vocal when she accompanies him on the piano at the concert. Leo besides finds himself intensely enthused when he finds Marian crying over her hopeless love for Ted, even after he has become certain that she can non be reliable. In malice of this, it is Leo ‘s very sensitiveness that incites the barbarous flood tide to the novel.

The greater portion of this novel is set in 1900 ( around the clip in which the Boer War was being fought ) , with the model of the Prologue and the Epilogue set in 1952. For the intents of this novel the day of the month had to be 1900. In his Brandham Hall there is no telephone, and people have to discourse by letter- which explains for the manner in which Ted and Marian implicate Leo in their love matter, as a message. Hartley has taken tremendous attention over item in The Go- Between. He has many allusions to which modern tests and trials are ever precise. The twelvemonth 1900 was one of the hottest summers on certification and historical record which besides combines to the “ hot ” sexual clash at the beginning of the novel. This besides show that he has thought about the agenda and sexual nature of the novel and related them together without many people detecting and to me, this points towards the right preparation to make a timeless novel.

The Go- Between shows a immature male child thrown from the unsophisticated universe of school- male childs into an big universe of refined relationships and undertones of passion and evil, of which he progressively becomes cognizant. Hartley makes Leo a male child who attains his 13th birthday in the class of his stay with the Maudsley ‘s at Brandham Hall and this is a critical component within the context of the novel. He is merely come ining pubescence, yet still has within himself much of the immature kid. Early on in the novel, I found out that Leo can non place himself with the king of beasts. This king of beasts being his birth mark, “ because of late I has lost the module which, like other kids, I had one time revelled in, of feigning that I was an animate being… ! was between 12 and 13, and I wanted to believe of myself as a adult male ” ( Prologue, pg 10 ) . However, when he arrives at Brandham Hall he has antecedently been told by Marcus that Marian is exceptionally attractive before he is able to appreciate this for himself. Increasingly, Leo ‘s feelings for Marian, I feel, become clear to the reader and, to some grade, to Leo himself. In Chapter 21 ( pg 240-1 ) , Leo ‘s devastation of the equivocal deadly nightshade or nightshade plant- which comes to symbolize both the equivocal Marian and the brumous enigma of sex in its luster and deadliness- epitomises the complete experience which he undergoes at Brandham Hall: hiss artlessness, his unknowing but fascinated engagement in sexual machination, his panic and the undreamed devastation it wreaks, the life decease and entombment he brings upon himself. Leo decides non to state Mrs Maudsley about the presence of the toxicant works in the privy since he could non bear the thought of its “ lustful limbs shriveling on a rubbish pile or greaves in a fire: all that beauty being destroyed ” ( pg 38 ) . Another point I would wish to do is that Hartley expresses the capacity of the natural to traverse over into the societal and vice- versa in the deathly nightshade. The nightshade is spliting with vegetable life, but is besides given strong human female ascriptions which excite and disturb Leo. The linguistic communication used here connects the works with Marian and with Leo ‘s unconscious desire to possess her. However, I feel that this can be interpreted otherwise by anyone who reads the novel.

The three manner relationship between Leo, Marian and Ted that is present throughout the novel is symbolic and linked to Leo ‘s childhood artlessness in many different ways. Leo is symbolically connected with Ted in many ways: in peculiar when he defeats him by catching him in the cricket lucifer ; and when he outdoes him at the concert. Leo is really cognizant of the fact that eh has overcome Ted on both occasions, but he does non gain that he is indirectly to be the cause of Ted ‘s decease. Hartley takes attention to discourse “ the natural ” in the class of the novel. At the terminal of chapter nine Leo discovers from Marian ‘s uncertain note that she and Ted are indulging in the stupid grownup pattern of “ spooning ” , and in Chapter 10 opens, “ Not Adam and Eve after eating the apple could hold been more disquieted than I was. ” What follows is a chapter which explores our “ natural ” province as fallen existences capable to carnal inherent aptitudes, and it is suitably set in Ted ‘s farmyard. Leo ‘s preliminary disgust at his find is bit by bit modified. As he continues his walk to the farm he begins to experience some compassion for Marian: “ Whether I realised the weakness of Nature to postulate with Nature I do n’t cognize ; but my bosom… softened. However, possibly the most evident symbol used in association with Leo is his green suit. Equally shortly as he puts it on it gives him the freedom to go a different individual: he recognises that it releases the “ existent ” Leo. Although he is profoundly offended by Marcus ‘ revelation that Marian chose the suit because green is the suited coloring material for him- signifying that he is inexperient and naif – he recognises that the green suit frees his imaginativeness to travel rolling as Robin Hood in the green wood with his Maid Marian. There is the flooring sarcasm in the fact that it is Marian ‘s behavior that is to deface life for Leo for over 50 old ages, triping him to set on one side of the universe and take up the survey of facts.

When Leo foremost witnesses Ted at the river in Chapter 4 he flees “ about in fright before that powerful organic structure, which spoke to me of something I did non cognize ” ( pg 56 ) , and analyzing Ted ‘s limbs he asks himself, “ What can they make… to be witting of themselves? ” ( pg 57 ) . On the visits to Ted ‘s farm Leo ‘s sexual artlessness is apparent, in malice of the fact that Ted calls him a large male child for his age, and he pleads with Ted to state him the facts about “ spooning ” . He is fobbed off until the juncture of his last visit to Ted when he goes to state good- passs to him ( Chapter 19 ) . Then Ted says he will maintain his word, and state him ; but Leo loftily declines ( pg 216 ) . Ted demonstrates anxiousness in instance people tell Leo the facts of life in the incorrect manner, and in retrospect his words contain a awful sarcasm. Leo ‘s sexual artlessness is confused when he sees Marian and Ted- two

of the people who mean most to him- in a gross clinch on the floor of the privy. These two have taken away his artlessness in other ways, by doing him, as the transporter of their signifier of communicating, portion of an machination against the Maudsley ‘s and Lord Trimingham. Now Leo is sexually initiated in a manner that is to plague him everlastingly. In this one episode Hartley combines sexual induction with a loss of artlessness. The fact that Leo has been sent to Brandham in such an guiltless province is an inexplicit disapprobation of both his schooling and his raising. There is much sarcasm underlying the magnetic attraction Marian brings upon Leo: throughout the novel he is portrayed as an inexperienced person, yet it is through Marian that he is sexually initiated, in a manner that causes him to maneuver clear of experience in these affairs. The fresh utilizations narrative devices which I feel, frequently gives a gustatory sensation of sarcasm when it is merely a inquiry of lingual unknowingness: hence when Leo wonders what is meant to be a Shylock, or supposes that “ to be in the household manner ” is “ to acquire in person ‘s manner ” . However Leo ‘s deficiency of apprehension or misinterpretation is frequently of importance in the development of the secret plan: for illustration, the fact that he associates the phrase “ lady slayer ” with his thought of Ted representing a danger for Lord Trimingham, or the fact that he interprets the overheard sentence “ they say he ‘s got a adult female up this manner ” as mentioning to the day-to-day adult female, are influential in his apprehension of the fortunes and his attendant behavior.

In an Epilogue the reader sees the reasoning comprehension of, possibly a little lifting of the blight, brought about by the reading of the diary. In between, there is the summer itself: chiefly the love between Marian Maudsley, of Brandham Hall in Norfolk, and Ted Burgess, the resident of the nearby “ Black Farm ” . As the reader, I see this narrative through the eyes of the too- inexperienced person, immature Leo Colston as seen now through the eyes of his resentful bing individuality. In fact, the book is the enlargement of a wrangle in the Prologue ( pgs 20- 21 ) between the 12 twelvemonth old Leo and the 65 twelvemonth old Leo over capable affair of the journal, the significance of that summer and love matter, the significance of love and life in general. Looking through the two braces of eyes ( really the same brace merely fifty old ages apart ) so contrasting in their position, still so similar in the radicalism and romanticism at the beginning of their opinions, we are able to se evildoers and sinned- against with much more sympathy and understanding than either ; able, excessively, to understand more of the human mixture that has gone into the devising of “ this horrid century we live in ” ( pg. 279 ) . The ripening, dried up, lonely Leo battles to convey himself to life once more with “ a last spark of the inherent aptitude for self- saving ” by reading his journal, “ facing… the scene, the people, and the experience ” ( pg. 21 ) which had crushed him. At the terminal, after reading and believing it through, after seeing Marian once more, after seeing and hearing the after math of the calamity, all of a sudden he sees spring into position “ the south- West chance of the Hall, long hidden from my memory ( pg. 281 ) . It is a symbol of the attaining of a true vision which has all along been missing. At last I can see the thing whole ; the house of which he could antecedently retrieve merely “ the hinder parts… higgledy-piggledy and rambling… non good light erectile dysfunctions ” ( pg.33 ) ; the love- matter which had seemed so evil and detrimental, but had besides, predictably, something in it of the good and beautiful ; his ain romanticism and blindness and that of his century, populating on traditions of beauty and self-denial and forgetting to admit the passion and force and immorality in human nature ; love itself the cardinal secret- non limited to sexual passion ( though including it ) but making out with compassion to encompass all one ‘s chap evildoers and sick persons in the human tragicomedy.

The Go- Between is noteworthy for the assortment of linguistic communication it contains. Hartley ‘s vocabulary is that of a well- schooled associate of the in-between category, and even when proceedings take a aggressive bend his method of depicting them does non necessitate him to crouch to barbarous linguistic communication. The tone is unagitated and controlled even when the events concerned are passionate and overruling. I would anticipate the linguistic communication of the aged Leo to be restrained, but it is interesting to see the assorted types of linguistic communication linked with his younger ego. Early in the novel I learnt that he wants the entries in his journal to “ make a high criterion of literary attainment ” , and it is his pretentious usage of the word “ vanquished ” that leads to the “ enchantment ” that seems to do the ruin of his enemies, Jenkins and Strode. When Leo arrives at Brandham Hall, he is given illustration of other types of linguistic communication he has at his demand. Leo finds that he is able to pass on with grownups such as Lord Trimingham and Ted, but his infantile deficiency of apprehension is on a regular basis referred to in the novel. This farther shows and develops the construct of Leo ‘s childhood artlessness throughout the novel.

In decision, I feel that Leo ‘s loss of artlessness destroyed his life for the following 50 old ages. He blames himself for the treachery of everyone at Brandham Hal and fails to see that the grownups back at the Hall had exploited him. However, the visit to Marian in the Epilogue helps to deliver Leo and hence he realises that he has a stronger appreciation of world than Marian, who has deceived herself for old ages, yet he is moved by her insisting that “ there ‘s no enchantment or expletive except an unloving bosom ” , even though he claims to be a “ alien in the universe of the emotions ” . The Go-Between is a book and an experience which can immeasurably increase one ‘s incursion into, one ‘s love for and credence of life, one ‘s “ tolerance for ambiguity ” in people and events- that primary property, harmonizing to some societal scientists of true adulthood. Leo seems merely possible on the brink of achieving some such adulthood, at sixty- five, as I close the book, and Hartley ‘s art is such that the reader can understand the costliness and rareness of the accomplishment, even at such an age. Finally, holding seen and examined all the grounds that the novel has to demo, I believe in and accept the rubric statement- “ The treachery of childhood artlessness ” is true and is one of the chief characteristics throughout the novel- The Go- Between.

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