Character Analysis (AQA A-Level English Literature A): Revision Notes

Character analysis

Introduction to character analysis in Rebecca

Understanding character analysis is essential when studying Daphne du Maurier's Rebecca. Du Maurier uses her characters as symbolic tools to explore broader themes and social concerns relevant to her era. Each character embodies particular ideas that were significant in contemporary society, and the relationships between characters mirror important debates of the time. Therefore, approaching character study effectively means examining not just individual characters in isolation, but understanding how they compare and contrast with one another throughout the novel.

Du Maurier employs several techniques to create and develop characters within Rebecca. Recognising these methods will strengthen your analytical skills:

• Character establishment: Consider how characters first appear and what initial impressions are created
• Physical presentation: Note descriptions of appearance and what these suggest about the character
• Actions and motivations: Examine what characters do and why they behave in particular ways
• Dialogue and thoughts: Analyse what characters say and think, and how this reveals their nature
• Interactions with others: Observe how characters relate to those around them
• Others' perceptions: Consider what other characters say and think about them

These strategies work together to create complex, multi-layered characterisation that serves Du Maurier's thematic purposes.

Main characters

The narrator

Du Maurier makes a significant artistic choice in leaving her protagonist unnamed throughout the entire narrative. This deliberate decision serves multiple purposes in developing the character and advancing the novel's themes.

The absence of a name contributes powerfully to the narrator's initial sense of insignificance and invisibility within the story. She feels overshadowed by two powerful forces: the grandeur and social expectations of Manderley itself, and more significantly, by Rebecca's formidable presence. Rebecca's name, in stark contrast, is known and revered by everyone at Manderley, creating an imbalance that emphasises the narrator's feelings of inadequacy.

From the beginning of the narrative, the narrator struggles profoundly with insecurity and a sense of inferiority. Her self-perception becomes tainted by deep feelings of inadequacy, which are intensified by the opulence (luxurious magnificence) of Manderley and Rebecca's lingering presence throughout the estate. The narrator sees herself as unsophisticated and out of place in the aristocratic world she has entered through marriage. This persistent sense of unworthiness shapes much of her behaviour and responses throughout the story.

The weight of comparison with Rebecca proves particularly burdensome for the narrator. Rebecca appears to embody grace, sophistication and an unattainable perfection in the memories of those at Manderley. This idealised image creates enormous pressure on the narrator, who constantly measures herself against this impossible standard.

The narrator demonstrates a lack of self-assuredness when navigating her new world at Manderley, often finding herself paralysed by fear and doubt. Her interactions with Mrs Danvers and other staff members, who remained devoted to Rebecca, only intensify her feelings of inadequacy. Mrs Danvers, in particular, becomes a formidable force that exacerbates the narrator's insecurities through subtle and overt manipulation.

Initially, the narrator's feelings towards Maxim are marked by naivety and idealisation. She views him through a somewhat romantic, unrealistic lens. However, her initial idealisation gradually gives way to a more mature understanding of her love for him, one that acknowledges complexity and difficulty.

As the narrative progresses, we witness the narrator overcoming her insecurity and embracing her individuality. This transformation represents far more than simply adapting to the aristocratic world of Manderley; it signifies her evolving understanding of her own strength and resilience. The revelations about Rebecca's true nature and the dynamics of her marriage to Maxim fundamentally transform the narrator's perspective, allowing her to reevaluate her own worth and place in the world.

The mature narrator who recounts the story in retrospect is no longer haunted by Rebecca's memory but demonstrates a greater understanding of herself and projects more self-confidence. This narrative framing device allows readers to see both the vulnerable young woman she was and the more assured person she has become.

Maxim de Winter

Maxim initially appears as a mysterious and handsome stranger who has endured recent tragedy. This brooding presence becomes a crucial element in establishing the novel's Gothic atmosphere. He acknowledges having been despondent and introspective, describing his emotional state as having his devils for a year. This admission reveals an inner turmoil that persists throughout much of the narrative.

Maxim's brooding nature manifests clearly in his interactions with other characters, particularly with his new wife. The tension in their relationship stems from Maxim's unresolved emotions, which further intensify the enigma surrounding him. His initial reluctance to divulge details about his past, particularly concerning his first wife Rebecca, creates an element of secrecy that pervades their marriage. This withholding of information contributes to the power imbalance between Maxim and the narrator.

Maxim remains haunted by his past and his tumultuous marriage to Rebecca. This psychological burden contributes to the melancholic atmosphere that surrounds Manderley. His haunted nature becomes apparent through recurring nightmares and moments of introspection that reveal his troubled state of mind.

Maxim's character becomes further complicated by societal expectations associated with his first marriage. The aristocratic world in which he lives demands a façade of perfection, especially within the institution of marriage. The idealised image of Rebecca, perpetuated by society and internalised by Maxim himself, becomes a source of ongoing conflict. This public image stands in stark contrast to the private reality of their relationship.

Maxim's haunted past also contributes to strained dynamics between him and the second Mrs de Winter. He becomes excessively emotional whenever Rebecca is mentioned, and an emotional distance exists between them, creating an element of isolation for both characters. In the initial phase of their marriage, Maxim and the narrator maintain an imbalanced relationship. He casually dismisses her concerns regarding Mrs Danvers and occasionally adopts a patronising tone towards her. He fails to recognise the influence and power Mrs Danvers holds over his fragile wife, leaving the narrator vulnerable to manipulation.

The revelation of the truth about Rebecca and Maxim's willingness to confront his own vulnerabilities mark a significant turning point in his character development. He becomes a more sympathetic and vulnerable character after the truth of Rebecca's death is revealed. The reader learns that she suffered from terminal cancer and cunningly manipulated Maxim into hastening her death. This revelation creates empathy for Maxim and helps readers understand his behaviour throughout the narrative.

Rebecca de Winter

Although Rebecca never appears physically as a character within the narrative, she remains central to the entire story. Her haunting spirit stays firmly at Manderley and exerts a direct influence on the events of the novel. This absent presence creates a powerful psychological force that shapes the experiences of all other characters.

Rebecca is continually presented to the reader as the epitome (perfect example) of beauty and sophistication. She embodies confidence and assertiveness, representing the idealised aristocratic wife. The descriptions of her elegance and refinement evoke a sense of grandeur that elevates her to an almost mythical status in the minds of those who knew her.

Rebecca's character serves as an object of fascination and admiration for those who encounter her memory. The descriptions of her elegance and refinement evoke a sense of grandeur that elevates her to an almost mythical status. The impact of Rebecca's beauty extends beyond mere aesthetics (concerns about physical appearance). Her beauty captivated Maxim but also cast a spell over the entire household. This perpetuates an idealised image that becomes both an inspiration and a source of insecurity for the second Mrs de Winter.

Rebecca therefore functions as a powerful and manipulative force who shapes the lives of those around her, even after death. One of the primary manifestations of her manipulation involves her influence over Maxim. Despite the appearance of a harmonious marriage, Rebecca's secrets and deceptive nature ultimately destroyed their relationship. This manipulation extends beyond her lifetime, continuing to affect Maxim's second marriage.

Mrs Danvers, Rebecca's devoted housekeeper, becomes another instrument of Rebecca's manipulation. The loyalty Mrs Danvers maintains to Rebecca, even after her death, illustrates the profound impact of Rebecca's ability to exert control over those she encountered. This continued devotion allows Rebecca's influence to persist at Manderley.

The idealised image of Rebecca, one of virtue and grace, contrasts sharply with the reality of her manipulations and the revelation of her tragic end. The dissonance (lack of harmony or agreement) between the public façade and private reality challenges conventional notions of morality and societal expectations. This gap between appearance and reality becomes a central concern of the novel.

Rebecca's character also stands in sharp contrast to the second Mrs de Winter. The juxtaposition between the two women links directly to the themes of identity, societal expectations and the impact of the past on the present. The idealised image of Rebecca shapes the protagonist's perception of herself and her place within Manderley, creating a psychological burden that must be overcome.

Mrs Danvers

Mrs Danvers functions as a significant antagonist within Rebecca's narrative, creating obstacles and psychological torment for the narrator. Despite experiencing loss and grief over Rebecca's death, she shows no warmth or compassion towards others.

From the beginning, Mrs Danvers exploits the narrator's lack of experience and nervousness. In her eyes, Maxim's new wife appears feeble in contrast to the formidable Rebecca. She lacks any warmth or empathy for the narrator and actively works to undermine her confidence and position at Manderley. Mrs Danvers's influence over the narrator becomes strikingly evident when she nearly convinces her to leap from the window of Rebecca's room, demonstrating the extent of her manipulative power.

Mrs Danvers is given an antagonistic role within the narrative and maintains a stoic (showing little emotion) and cold demeanour. She remains fiercely loyal to Rebecca, even after her death, and becomes a custodian of Rebecca's memory. Her obsessive loyalty to the idealised Rebecca becomes apparent when she refuses to acknowledge any possibility of Rebecca loving Jack Favell. This refusal persists even when it could have aided the case against Maxim, showing how her devotion overrides rational judgment.

The physical spaces associated with Rebecca, such as her bedroom and the gallery, become sacred to Mrs Danvers. She meticulously maintains these spaces as if preserving a shrine, ensuring that every detail remains as Rebecca left it. The obsessive care with which she tends to Rebecca's belongings reflects her deep emotional attachment to her former mistress.

Mrs Danvers's obsession also contributes significantly to the Gothic tone of the novel. Her eerie display of Rebecca's clothing and possessions ensures that every space associated with Rebecca serves as a constant reminder of her presence. This creates an atmosphere of unease and supernatural presence that pervades Manderley.

Through her manipulative actions and words, Mrs Danvers reinforces the myth of Rebecca's perfection. This creates a stark contrast between the two women and ensures that Rebecca retains a mythical status within Manderley. Mrs Danvers becomes a guardian of this illusion, protecting Rebecca's idealised image from any challenge or criticism.

Towards the end of the novel, the revelation regarding Rebecca's appointment with Dr Baker leaves Mrs Danvers bewildered. This information completely contradicts her belief that Rebecca confided everything to her, shattering her understanding of their relationship and Rebecca's true nature.

Minor characters

Jack Favell

Jack Favell, Rebecca's cousin, presents himself as a character with a dual nature. He appears as a charming and witty individual on the surface, someone who seems affable (friendly and approachable). Despite this charm, he is also portrayed as an unscrupulous and cunning character. He engages in questionable behaviour and harbours a darker and more manipulative side beneath his pleasant exterior.

Jack plays a significant role in the mystery surrounding Rebecca's death. His character becomes entangled in the secrets and scandals of Manderley, which adds suspense and tension to the narrative. His actions and revelations play a crucial role in exposing hidden truths, and his character contributes significantly to the climax of the text.

Jack's relationship with Maxim remains strained and characterised by clear conflict between the two characters. As a character, he actively opposes Maxim, creating tension and antagonism that drives portions of the plot forward.

Mrs Van Hopper

Du Maurier presents Mrs Van Hopper as a character who seizes any opportunity to climb the social ladder. She is used as a symbol of the old world and its values, and her character serves to highlight the tension between different societal norms and expectations.

Mrs Van Hopper often displays a lack of sensitivity and tact in her interactions with other characters. This suggests she is more concerned with her own desires and social standing than with the feelings of those around her. Her judgements are often based on societal standing rather than true character. This becomes evident in her dismissive attitude towards the narrator when she serves as her paid companion.

Beatrice Lacy

Beatrice is Maxim's older sister and is characterised as having a strong sense of familial loyalty and support. She cares deeply for her brother and plays a protective role towards him in the text. She stands in stark contrast to characters like Mrs Van Hopper, as she demonstrates more genuine and compassionate qualities. Beatrice's conversations contribute to the gradual revelation of the truth about Rebecca, helping to piece together the mystery at the heart of the novel.

Frank Crawley

Frank Crawley serves as the estate manager of Manderley and is presented as Maxim's trusted confidant. From the moment the narrator arrives at Manderley, Frank befriends her and offers her support and guidance. His warm and welcoming demeanour provides a source of comfort for the narrator throughout the text, offering her an ally in an otherwise intimidating environment.

Ben

Ben is an intellectually disabled man who lives on a nearby farm. His interactions with the second Mrs de Winter, as well as his cryptic statements, contribute to the sense of mystery and unease that pervades the novel. His character adds another layer to the Gothic atmosphere of the text.

Exam guidance

Remember!