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Wydział Lingwistyki Stosowanej
Instytut Kulturologii i Lingwistyki Antropocentrycznej
Uniwersytet Warszawski
International E. M. Forster Society
NEW ASPECTS OF E. M. FORSTER
Edited by Krzysztof Fordoński
Warszawa 2010
Recenzja naukowa / Review
prof. dr hab. Piotr Wilczek
Współpraca redakcyjna / Assistant to the Editor

Weronika Szemińska
Projekt okładki / Cover design

Przemysław Klonowski
Zdjęcia na okładce / Photographs on the cover

Stevenage © Heiko Zimmermann
San Gimignano © Marta Koziarska
Kumbhalgarh © Tadeusz Sokołowski
© Copyright by
Instytut Kulturologii i Lingwistyki Antropocentrycznej
Uniwersytetu Warszawskiego
International E. M. Forster Society
Wydanie pierwsze / The first edition
ISBN 978-83-60770-24-5
Druk i oprawa / Print and binding

Zakład Graficzny UW, zam. 1175/2010
List of Contents
Krzysztof Fordoński
Introduction 5
Anna Kwiatkowska
Ironic Reflections on Life: E. M. Forster’s Novels and Henri 7
Bergson’s Philosophy of Laughter
Paweł Wojtas
E. M. Forster’s Uneasy Bildungsroman: Exploring the Meanders 31
of Existential Aporias in The Longest Journey
Krzysztof Kramarz
Deletion, Metaphor and Footnote: the Analysis of Polish Transla- 52
tions of A Room with a View
Tomasz Dobrogoszcz
A Passage to OU-BOUM: Homi Bhabha reads E. M. Forster 69
E. M. Forster’s Geography of Homosexual Desire 90
Piotr Urbański
“The love that passes understanding has come to me”: Remarks 111
on Staging Billy Budd
Heiko Zimmermann
Teaching E. M. Forster in 2010: Essayistic Reflections 137
Polish Aspects of E. M. Forster: A Postscript 161
Introduction
This collection of essays grew from a scholarly meeting,

a conference entitled “Polish Aspects of E. M. Forster”,
held at the University of Warsaw, intended as a celebra-
tion of the 40th anniversary of E. M. Forster’s death.
The meeting proved very creative – the participants
unanimously decided that the novelist deserved further
studies and more scholarly interest. Consequently,
we decided to start the International E. M. Forster Soci-
ety, aimed at supporting such studies and serving
as a platform for exchange of ideas connected with
the writer and his works. The present volume is the first
publication supported by the Society.
The variety of subjects proposed and discussed dur-
ing the conference was so diverse and interesting
that we decided that they would form an appropriate
basis for the present volume, although invitations
to participate in the publication were extended also
to scholars who could not take part in our meeting.
This collection can hardly claim to form a complete
companion to Forster’s works. Nevertheless, interested
readers will find here studies touching upon quite
a broad range of subjects – from Forster’s irony
and Forster’s works in translation and their reception
in Poland, through modern critical approaches
to his works, to probably the least known part of his
oeuvre, his co-operation on the libretto for the opera
Billy Budd composed by Benjamin Britten, and the place
which E. M. Forster may and should have in modern
academia.
5
As we gathered on the anniversary of Forster’s
death, an allusion to his most important work of literary
criticism, Aspects of the Novel, and also to a conference
held to commemorate his birthday over forty years
ago as well as the resulting volume of studies, Aspects
of E. M. Forster, seemed an appropriate choice for
the title. We hope that the title we chose, New Aspects
of E. M. Forster, will be read in more ways than one –
not only as a reference to the long-established tradition
of Forsterian studies but also as an indication that
the included studies indeed reveal new insights in
the works of the novelist, new aspects of E. M. Forster.
I would like to thank Prof. Piotr Wilczek for promt
and constructive review of the volume, Weronika
Szemińska for her help with editing it, Marek Łukasik
for his advice concerning its publication, Paweł Wojtas
for proof-reading the text, Przemysław Klonowski
for designing the cover, Marta Koziarska, Heiko Zim-
mermann, and Tadeusz Sokołowski for their allowing
us to use their photographs on the cover. Without their
kind assistance the volume would never be published
in its present form.
6
Anna Kwiatkowska
University of Warmia and Mazury
Ironic Reflections on Life: E. M. Forster’s Novels

and Henri Bergson’s Philosophy of Laughter
Introduction
The use of irony by E. M. Forster is so obvious that very

often we do not stop to consider it more thoroughly.
We seem to take it for granted that almost all, if not all,
Forster’s works manifest quite an ironic perspective.
When turning to his novels, quite ironically they are all
openly dramatic (maybe except for A Room with a View).
Death, murder, exile and loneliness as well as hypocrisy,
violence and other human vices permeate the said works
(this time A Room with a View with its happy ending
being no exception). Thus a question appears: how come
that we laugh while reading about all this nastiness?
The answer has presented itself to me while re-
reading Henri Bergson’s “Le Rire. Essai sur la significa-
tion du comique” (“Laughter. An Essay on the Meaning
of the Comic”) (1900). Reading Bergson’s essay
with Forster’s approach to and his use of irony in mind
leads to an overwhelming feeling that the two men must
have been endowed with a very similar view on laughter
and humour. The ideas one finds in the essay corre-
spond with those found in the works by Forster.
To be more precise, the fiction of Forster, both in terms
7
of themes and plot on the one hand and narrative pat-
terns on the other, serves as a practical manifestation,
an illustration of the theoretical and philosophical dis-
putes of Bergson.
Before, however, getting down to the practical con-
sideration of the selected passages from the essay
and the related quotations from the novels, let us focus
briefly on the very notion of irony and its Modernist
context since both Bergson and Forster were undoubt-
edly inextricably linked to that epoch.
Irony and Modernism
Irony has been a useful, likeable, and thus eagerly em-

ployed tool for centuries. Therefore, it comes as no sur-
prise that the derision-prone Modernists were especially
fond of irony. From the modern perspective, it is quite
clear that a distinct ironic approach became a must
for all the artists creating at the very beginning
of the 20th century. Quite frequently the employment
of this technique determined whether an artist/poet/
writer was referred to as a Modernist.
The omnipresent status of irony in Modernism falls
into the general philosophy of the period. The rapid
changes and transformation in all fields of human activ-
ity, the pending war and its unprecedented outcomes,
the urban whirl and the first traces of sexual freedom,
all these imposed on people the feeling of spiritual alien-
ation, overrun frustration, and general disillusionment.
Consequently, an antidote for the chaos of the present
reality and the unknown of the new that was soon
to come was eagerly sought for. Although it might
sound like a paradox, in the times when the old
8
and the traditional would be rejected almost instantly,
the antidote in the form of irony came from that very
unwanted and depreciated order of the world.
The term irony is a long established one since it can
be traced back as far as the ancient Greece. Under
the Greek notion known as eirôn (one of the stock charac-
ters in comedy) it was first recorded in Republic by Plato.
The term used in the said text approximately meant
“a glib and underhand way of taking people in” (Cud-
don 1999: 427). However, in Modernism, due to the so-
cio-historical circumstances, irony stopped to be treated
merely as a rhetorical figure employed by poets or writ-
ers. Now it was “a mode of consciousness, an all-
embracing vision of life, a vision of life, a vision of exis-
tence, a perpetual response to a world without unity
and cohesion” (Walczuk 2005: 35). Therefore, irony was
used by the Modernists in order to “distance” them-
selves, to use Alan Wilde’s terminology, from the sur-
rounding reality. Similarly to other critics, Wilde dis-
agreed with the traditional perception of irony
as a contrast between reality and its appearance since,
according to him, it leads to “the separation between
the individual consciousness and the world of which
each consciousness forms a part” (Walczuk 2005: 35).
Forster’s Approach to Irony
Forster is by far the case in question. Although quite

a few of his contemporaries refrained from labelling
him a true Modernist, still there were those, including
Virginia Woolf and her husband Leonard, who held
an entirely opposite view. Nevertheless, both propo-
nents and opponents of Forsterian Modernism admitted
9
that there was “something” in the works of Forster
that precluded a straightforward classification.
This “something” was hardly definable, as some
of the critics observed. I. A. Richards described Forster
as “the most puzzling figure in contemporary (1927)
English letters” whereas Virginia Woolf could not fight
the feeling that there was something “baffling and eva-
sive” in his writings (Martin 1976: 1). Another scholar,
Lionel Trilling, the pioneer in the field of criticism
of Forster’s works, perceives him as a “moral realist,
but an evasive one” (Martin 1976: 1).
Nevertheless, the point that all the critics and read-
ers of the writings of Forster agree upon is that his use
of irony is marked by strong individual traits. His in-
triguing, specific sense of humour won over a lot
of members of artistic and literary élite of the early
20th century England. Forster’s treatment of irony re-
sulted in the situation in which the writer, despite
his quite traditional approach to narration, was highly
regarded not only by the regular, traditionally-oriented
readership, but also, or should we rather say chiefly,
by the leading avant-garde writers, artists, and intellec-
tuals of Modernism associated in, among others,
the famous Bloomsbury Group, to which the writer
informally belonged. Forster’s interest in irony is thus
in accordance with the Modernists’ approach to it.
As regards the Bergson–Forster connection, looking
through the non-fiction writings of Forster I have not
come across any direct traces referring to Bergson’s
philosophy of laughter. However, it seems that Forster
must have known Bergson, if not personally, then defi-
nitely through his philosophical works and lectures.
First of all, the articles on the Bergsonian thought were
10
highly popular in the early 20th century England. Mary
A. Gillies gives three main reasons directly responsible
for this interest in Bergson’s writings (1996: 29). Un-
doubtedly, the major factor was the access to numerous
translations of his main works; the second factor
was Bergson’s set of lectures delivered in England (Ox-
ford, Birmingham, London) in 1911. The lectures were
so popular that tickets and special invitations were
issued, limiting the access to lecturing halls, leaving thus
quite a large audience dissatisfied.
Such a situation certainly stimulated further an al-
ready intense interest in Bergson and his works, encour-
aging in turn more translations. Finally, Bergson touched
upon the issues that were of great significance to Mod-
ernists. Moreover, he not only straightforwardly ex-
pressed his fears, but also suggested solutions
to the questions that engaged the mind of modern man
(Gillies 1996: 29-30). Nevertheless, the lack of a direct
proof that Forster was familiar with Bergson
and his ideas does not lessen the impression that reading
Forster resembles reading Bergson to some extent.
They address the same moral questions using same
standards, though not necessarily the same language.
Coming back to Forster and his ideas about laugh-
ter, it might be rightly expected that since his works
are marked by certain individuality and distinctiveness
when viewed against the techniques and modes of writ-
ing employed by the Modernists on a large scale,
his approach to irony will also be marked by unique
Forsterian traces. And the assumption is by all means
correct. At first glance the sense of humour demon-
strated in the works by Forster seems to fall into
the Modernist ironic mode due to the fact that it goes
11
beyond its traditional role (i.e. amusing the reader),
playing with paradox and suggesting a certain vision
of the world.
However, considering the subject more closely,
one eventually has to conclude that the use of irony
by Forster is quite outstanding. As Frederic A. Crews
notices, “Forster punishes every error with an ironic
appropriateness” (1962: 99). In other words, irony
in the works of the writer appears not that much
as a corrective tool, but as a form of punishment. More-
over, the vision of the world that emerges from
the ironic style of Forster seems to be far less pessimistic
than the Modernists would call for. Nonetheless,
the very fact does not spell his works as social comedies.
For in spite of an indirect disposal of the serious social
issues or of the meaninglessness of some aspects
of the modern world, Forster apparently does manage
to deal with the crucial, complex and therefore ambigu-
ous moral questions frequently considered by many
Modernist writers like Virginia Woolf, James Joyce,
or Joseph Conrad.
Thus the moral problems the English society faced
at the beginning of the 20th century due to the multifari-
ous socio-economic changes and transformations,
the moral chaos produced by the Great War, the dilem-
mas regarding human relations and sex (e.g. homosexu-
ality), and above all human vices let loose and breeding,
create the true core of Forster’s novels. To quote Mike
Edwards,
Everywhere that Forster sees creed overtaking hon-

esty or role suppressing man, he is ready to take
12
the issue; and in the novels, that means using
his pervasive weapon, irony (2001: 189).
Yet, as some critics observe, the irony of the writer

is so subtle, refined, and thus respectable that
it is highly presumable that some of the readers may
miss the (ironically) understated message. J. O. Oliver
states that the mockery applied by the author against
some of the characters of his novels is so delicate
that one might think that he takes them and their
manners/conventions as solemnly as they take them-
selves (1960: 29). Furthermore, Forster earned
his respectable title of ironist also or primarily because
of his ability to decide when enough is enough.
He always knows the proportions while mixing irony,
mockery and humour with the grave, serious
and ordinary ingredients. The deftly combined ele-
ments of the mixture are worthy of a skilful chef.
As a consequence, the reader is presented with a deli-
cious intellectual feast.
All in all, Forster’s irony, seemingly simple
and clearly decipherable, turns out to be quite de-
manding. The reader has to make some effort to truly
and fully appreciate the messages in order to disclose
the vision of the world as seen by Forster. One should
agree with W. C. Booth when he says that Forster
in a way invented a Forster who looks like a real man
addressing the readers, “a man who wears something
like the same ironic smile”, with the use of which
he wants to disclose his opinions about the world
and human nature (1975: 185). As Edwards puts it,
13
[i]rony is Forster’s natural habit of mind. . . . irony
pervades every aspect of Forster’s work. We hear
it in his tone of voice and, since they are like him, of-
ten in the tones of many of his sophisticated charac-
ters (2001: 190).
Henri Bergson and irony
In very general terms, Bergson’s approach to irony

is within the limits of a common dictionary definition.
Namely, the philosopher’s point of departure for more
thorough “ironic” considerations is the basic division
into the verbal (intentional) irony and the situational
(structural) one (Baldick 1990: 14). We talk about
the former when there is at least some discrepancy be-
tween what is said and what is actually meant. Whereas
the latter includes the notion of superiority when some-
one who knows more (in a literary work it could
be a narrator or the reader or both), is more experienced
or better in some activity, and laughs at the expense
of someone more naïve, clumsy, etc. (in a literary work
it could be the reader laughing at a fictional character
or the implied author grinning at the implied reader).
Bergson, additionally, discusses laughter stemming from
character.
Yet the deeper deliberation in the field of laughter
does not, in case of Bergson, concentrate that much
on its types and classification of them, though certainly
this is also important, but on the very mechanisms
of laughter. In other words, Bergson wanted to plumb
the mysteries of the causes of laughter. His essay
on laughter opens with the following questions
and some introductory explanations related to them:
14
What does laughter mean? What is the basal element
in the laughable? What common ground can we find
between the grimace of a merry-andrew, a play
upon words, an equivocal situation in a burlesque
and a scene of high comedy? What method of distil-
lation will yield us invariably the same essence
from which so many different products borrow ei-
ther their obtrusive odour or their delicate perfume?
The greatest of thinkers, from Aristotle downwards,
have tackled this little problem, which has a knack
of baffling every effort, of slipping away and escaping
only to bob up again, a pert challenge flung at phi-
losophic speculation. Our excuse for attacking
the problem in our turn must lie in the fact that we shall
not aim at imprisoning the comic spirit within a defini-
tion. We regard it, above all, as a living thing. How-
ever trivial it may be, we shall treat it with the re-
spect due to life (Chapter 1).
The word baffling alone brings certain associations

with Forster, or shall I rather say with those who tried
to define his works and thus classify him but failed.
Then, there is also the notion of the impossibility
of a simple definition and a straightforward answer
concerning the “problem” of laughing on the one hand
and the idea of a life-like treatment of the topic
on the other, which also points out to the English writer.
Turning to Bergson, one of the elements that re-
appears throughout the essay is a constant underlining
of the fact that laughter as such cannot be treated
or discussed in separation from the social issue.
“Our laughter is always the laughter of a group” (Chap-
ter 1), says Bergson. Therefore the purely psychological
treatment is not his concern. This he would leave
for others like Freud (Colletta 2003: 17). Consequently,
the foundations of his comic theory should be looked
15
for in the social circumstances, and in particular,
in the place of an individual in it. Following, the comic,
according to Bergson, is inevitably created when we deal
with some sort of alienated individual. Usually
the alienation is based on the individual’s incongruity
with the group. Additionally, an external circumstance
is also indispensible. Using Bergson’s words, “[t]he co-
mic is therefore accidental: it remains, so to speak,
in superficial contact with the person” (Chapter 1).
Lisa Colletta summarizes the philosopher’s approach
in the following way:
[Bergson argues] that laughter arises when a rigidity

in character or behavior precludes individuals from
responding to changing situations in a living, vital
way. Truly living beings, . . . adjust their behavior
to fit varying circumstances; when individuals
do not accommodate themselves to the exigencies
of social circumstances, relaying on “automatism
of acquired habits”, they become inflexible and me-
chanical (2003: 18).
This very citation may serve as a conclusion to the basic

background fitting the needs of the hereby article.
Its length precludes further development of the theoreti-
cal part. The next part of the article will thus be a practi-
cal application including exemplifying quotations from
Bergson’s essay and a handful of passages from Forster’s
selected novels.
16
Practical Consideration
Let us start with the following quote from the essay:
To understand laughter, we must put it back into

its natural environment, which is society, and above
all must we determine the utility of its function,
which is a social one. Such, let us say at once, will
be the leading idea of all our investigations. Laughter
must answer to certain requirements of life in com-
mon. It must have a SOCIAL signification (Chapter 1).
To give an example, Bergson describes the following

scene:
A man, running along the street, stumbles and falls;

the passers-by burst out laughing. They would
not laugh at him . . . could they suppose that
the whim had suddenly seized him to sit down
on the ground. They laugh because his sitting down
is involuntary (Chapter 1).
Does it not sound familiar? Let us look at the following

quotation from Where Angels Fear to Tread:
[Lilia] learnt to bicycle, for the purpose of walking

the place up, and coasted down the High Street one
Sunday evening, falling off at the turn by the church.
If she had not been a relative, it would have been en-
tertaining. But even Philip, who in theory loved outrag-
ing English conventions, rose to the occasion, and gave
her a talking which she remembered to her dying
day (1976: 24).
According to Bergson’s theory, the whole accident

with Lilia should be perceived by an observer as funny
due to, what he called, “the involuntary element
17
of change, clumsiness, in fact” (Chapter 2). The incident
was not artificially brought about and therefore it makes
us laugh. However, in the quoted passage the comic
is definitely more complex. The observer, that is Philip
Herriton, does not laugh! Still, after reading the passage,
the reader laughs. But the reader does not laugh at Lilia,
either. Strangely as it may seem, the reader laughs
at Philip who refrains from laughing. On the one hand
there is the reason that Philip gives – Lilia was his rela-
tive; and on the other there is the reason supplied
by the narrator – English conventions.
Only on the surface these are two different explana-
tions of Philip’s reaction, since in fact they are both
about Philip’s mechanical subordination to the rigid
social conventions: if Lilia is laughed at, then, by anal-
ogy, the whole family of Herritons is mocked. Thus
it is not the situation, the accident itself that matters,
but the person involved. This artificial, since selective,
approach to humour is mocked by the narrator,
who, while commenting on Philip’s behaviour, uses
a couple of contradictions, namely “love” linked
to “theory” and “outraging” combined with “conven-
tions”. Thus, the naturally comic situation becomes less
important for the reader when juxtaposed with the un-
natural reaction of young Herriton. The artificiality
of the said behaviour is thus perceived as funnier
and also more important, for it humorously comments
not only on Philip himself but, by extension,
on the family he belongs to and the society he lives in.
This leads us to another point made by Bergson
in his essay on laughter:
18
Laughter must be . . . a sort of SOCIAL GESTURE.
By the fear which it inspires, it restrains eccentricity,
keeps constantly awake and in mutual contact cer-
tain activities of a secondary order which might re-
tire into their shell and go to sleep, and, in short, sof-
tens down whatever the surface of the social body
may retain of mechanical inelasticity. Laughter, then,
does not belong to the province of aesthetics alone,
since unconsciously (and even immorally in many
particular instances) it pursues a utilitarian aim
of general improvement. And yet there is something
aesthetic about it, since the comic comes into being
just when society and the individual, freed from
the worry of self-preservation, begin to regard them-
selves as works of art (Chapter 1).
The comic is that side of a person which reveals
his likeness to a thing, that aspect of human events
which . . . conveys the impression of pure mecha-
nism, of automatism, of movement without life. Con-
sequently it expresses an individual or collective im-
perfection which calls for an immediate corrective.
This corrective is laughter, a social gesture that sin-
gles out and represses a special kind of absentmind-
edness in men and in events (Chapter 2).
The corresponding fragment comes this time from

A Room with a View:
He [Cecil] was medieval. Like a Gothic statue. Tall

and refined, with shoulders that seemed square
by an effort of the will, and a head that was tilted
a little higher than the usual level of vision, he re-
sembled those fastidious saints who guard the por-
tals of a French cathedral. Well educated, well en-
dowed, and not deficient physically, he remained
in the grip of a certain devil whom the medieval,
with dimmer vision, worshipped as asceticism
(Forster 2000a: 106).
19
Those who have read the novel may remember that Cecil
would eagerly compare others (e.g. his treatment
of Lucy as a work of art) to objects. It is thus interesting
to note that in the passage quoted above the narrator
describes the character using Cecil’s own ways, namely
employing art and making use of a comparison.
Looking at the passage, it seems to be a solemn de-
scription again. Additionally, the mock seriousness
is doubled by the object Cecil is compared to, namely
a medieval statue. The aforementioned Bergsonian
“movement without life” is depicted in the very statue –
the characteristic features associated with such a statue
are first of all heaviness, the lack of movement, the mate-
rial it is made of (for example stone); even if we imagine
a statue of a knight, it still bears similar characteristics
though the material might be different (metal armour
of the knight). This way or that Cecil is compared
to an object that is very difficult to get through
or/and to see through. Therefore, by analogy, the reader
assumes that the protagonist is unable to move and lacks
open-mindedness (for he is “in the grip”).
Surprisingly or not, his positive features, both men-
tal and physical (“well educated, well endowed, and not
deficient physically”) are far less important here since,
due to the object Cecil is related to, he is immediately
associated with awkwardness. Again, the seriousness
that overgrows or exceeds the frames of an ordinary
description, making it thus artificial, results in a comic
effect. Instead of admiring the various abilities
of the hero, the reader laughs at his inability to use those
skills in practice. At that point we come back in a way
to the question posed earlier in the article concerning
the hidden link between the dramatic and the comic
20
that for sure must exist. Since a similar question is asked
by Bergson in his essay, there is also an answer
to it there:
But that is what comedy has in common with drama;

and in order to keep distinct from it, to prevent
our taking a serious action seriously, in short, in or-
der to prepare us for laughter, comedy utilises
a method, the formula of which may be given as fol-
lows: INSTEAD OF CONCENTRATING OUR
ATTENTION ON ACTIONS, COMEDY DIRECTS
IT RATHER TO GESTURES. By GESTURES we here
mean the attitudes, the movements and even the lan-
guage by which a mental state expresses itself out-
wardly without any aim or profit, from no other
cause than a kind of inner itching. Gesture, thus de-
fined, is profoundly different from action. Action
is intentional or, at any rate, conscious; gesture slips
out unawares, it is automatic. In action, the entire
person is engaged; in gesture, an isolated part
of the person is expressed, unknown to, or at least
apart from, the whole of the personality (Chapter 3).
In Forster’s works the conscious (ACTION)

and the unconscious or unintentional (GESTURE)
are skilfully combined and interwoven into the texture
of both the plot and the narrative structure. Although
the characters from his novels tend to focus on ACTION
– that is social norms and conventions that they try
to follow impeccably, they are in a way “given away”
by their GESTURES – so “the attitudes, the movements
and even the language”, to quote Bergson once again.
Let us then consider the notions separately, i.e. one
at a time.
21
The attitude: The Longest Journey
She began to pace Rickie’s room . . . There was noth-

ing much to see in it. The pictures were not attrac-
tive, nor did they attract her – school groups, Watts’
„Sir Percival”, a dog running after a rabbit, a man
running after a maid, a cheap brown Madonna
in a cheap green frame – in short, a collection where
one mediocrity was generally cancelled by another.
Over the door there hung a long photograph of a city
with waterways, which Agnes, who had never been
to Venice, took to be Venice, but which people
who had been to Stockholm knew to be Stockholm
(Forster 1960: 13).
Undeniably, this is the opinion of Agnes although

rendered by the narrator. The proof is further
in the description when the reader learns that “the pic-
tures were not attractive” and their framing is “cheap”.
Other objects in Rickie’s room are classified by Miss
Pembroke quite thoughtlessly as “mediocrity”. In her
eyes, there was virtually nothing of interest in the very
room. Following, her attitude towards art is disclosed
as totally indifferent. She uses the measure for the pic-
tures by George Watts and the cheap Madonna plus
a photo of the city that for Agnes is, of course, Venice
and which is known to others as Stockholm. It is a real
shame, for the boring (according to her) themes of Watts’
pictures could tell inquisitive Agnes a lot about
the owner of the very room.
This English artist (painter and sculptor) was
not only well-known to a wide Victorian audience
but also highly appreciated by them. He believed that art
has a power to transform the life of ordinary people,
making it better and more refined. Therefore, Watts
22
produced many works that were meant for public places
like parks (sculptures) or building interiors (murals
in staircases) (Gibka 1992: 748, Treuherz 1996: 155-157).
The fact that Miss Pembroke is not familiar
with such a recognized Victorian artist as Watts, and that
she mistakes Stockholm for the Italian city on water,
points straightforwardly to her artistic reception
in general, or rather lack of it. As a consequence, Agnes’s
aesthetic ignorance reveals her personality: her evalua-
tion of the surrounding reality is based on external, often
shallow, signs of affluence. Following, the room lacking
such signs is promptly labelled by her as uninteresting,
boring, but above all, below the aesthetic social stan-
dards Miss Pembroke duly pays homage to. As it might
be inferred from the above, art is strictly related to social
status in the social circles Agnes Pembroke belongs to.
Furthermore, it appears to be its indicator. For that very
reason the lack of appreciation towards the room entails
simultaneously negative criticism applied to the owner
of the place.
On the basis of the interior Agnes thus marks Rickie
down as lacking good (juxtaposed with “the drawing
room” one) taste and strong financial status. In such
a context, the last utterance of the above passage be-
comes very telling, indeed. Later on, we can observe
a certain modification of perspective, because the voice
of Agnes mingles with the voice of the narrator,
which functions as an openly ironic commentary
on the protagonist’s perception of the world. The narra-
tor clearly mocks Agnes, thus letting the reader know
that for him she is patronizing, shallow, and limited.
She not only lacks general knowledge about the contem-
porary art but also about the surrounding world. Al-
23
though she has never been to Venice, it does not pre-
clude her from voicing her opinion about the picture
explicitly and unequivocally.1 Her knowledge about
this Italian city is limited to one fact, namely that it has
waterways instead of regular streets. This is why she
so promptly labels the place in the picture. As for Stock-
holm, Agnes knows nothing about it and it is quite
probable she has never heard of it. Paradoxically,
her negative evaluation of Rickie and his surroundings
becomes an evaluation of herself and the world she lives
in.
The movement: A Room with a View
At that supreme moment he was conscious of noth-

ing but absurdities. Her reply was inadequate.
She gave such a businesslike lift to her veil.
As he approached her he found time to wish that
he could recoil. As he touched her, his gold pince-
nez became flattened between them.
Such was the embrace. He considered, with truth,
that it had been a failure. Passion should believe it-
self irresistible. It should forget civility and consid-
eration and all the other curses of refined nature
(Forster 2000a: 127).
Also in this case an artistic stereotype is verified by

life. Cecil first quite absurdly asks a work of art2
1 This is how the stereotypical thinking of Agnes is disclosed. She acts
exactly as the “programmed” Victorian audience: she does not spend

much time looking at the picture and being satisfied with a couple
of generalities, she guesses “rightly”, of course, the name of the place.
In other words, the process of art reception works like a matrix.
2 One of the chapters of the novel in question is entitled “Lucy
as a Work of Art” and it refers to the perception of Lucy by Cecil.
24
for the permission and then he kisses it. What is more,
he seems to be extremely surprised that the kiss does not
work out. Obviously, Cecil, being unprepared
for a physical contact with a living person, loses
when confronted with the reality.3 Such an uncritical
and mindless transfer of the values that prevail
in the realm of art into the reality surrounding the pro-
tagonist results in a distorted picture of the empirical
reality.
Moreover, the above presentation of Cecil not only
crushes the image he had of himself but it also disposes
of the fictitiousness of his ideas concerning
his visions about the world as such (including thus
Lucy). Artistic images preoccupy his mind and life
so much that in a way he stops noticing people around
him. Subconsciously, he changes them into works
of art, pretty objects which can be manipulated
and moved at leisure. Taking such a meticulous care
about his spiritual life, Cecil forgets about the spiritual
as well as emotional lives of others. Paradoxically,
the more he works on the development of his inner self
(e.g. reading or discussing books), the less open-minded
3 This clash of the two worlds (on the one hand there is the reality
the protagonist lives in and on the other there is the realm created
by his imagination) becomes even more vivid when juxtaposed
with another famous kiss scene: “For a moment he [George]
contemplated her, as one who had fallen out of heaven. He saw
radiant joy in her face, he saw the flowers beat against her dress
in blue waves. The bushes above them closed. He stepped quickly
forward and kissed her” (Forster 2000a: 89). This natural,
for in accordance with the broadly understood nature, behaviour
of the young man is later on confirmed by the action undertaken
by the protagonist who, unlike other participants of the trip going
back to the hotel by coach, decides to go on foot in pouring rain.
25
he becomes. The ironic picture of Cecil that emerges
from the contradiction shows a man in a dark, crammed
room, dominated by the smell of old volumes and theo-
ries, with almost no space for real people, their feelings
and actions, the interior that eventually becomes a sym-
bol of him both to the readers and to other characters
from the novel.
The language: Howards End
In the following passage we will see the distorted atti-

tude towards reality of Leonard Bast, one of the main
characters from Howards End. This time the falsity
is disclosed by the language he uses. To be more precise,
it happens when the protagonist attempts to use com-
plex grammatical structures and sophisticated vocabu-
lary found in a book by Ruskin to describe the reality
around him. Thus his basement flat which is “dark
as well as stuffy” (Forster 2000b: 62) is theoretically
turned into a thoroughly different place:
Leonard was trying to form his style on Ruskin:

he understood him to be the greatest master of Eng-
lish Prose. He read forward steadily, occasionally
making a few notes. ‘Let us consider a little each
of these characters in succession; and first (for of
the shafts enough has been said already), what
is very peculiar to this church, its luminousness.’
Could he introduce it with modifications, when next
wrote a letter to his brother, the lay-reader? For ex-
ample – ‘Let us consider a little each of these charac-
ters in succession; and first (for of the absence of ven-
tilation enough has been said already), what is very
peculiar to this flat, its obscurity’ (Forster 2000b: 62).
26
Quite soon, though, Leonard realizes that this trans-
formation somehow does not bring him closer to Cul-
ture: “Something told him, that the modification would
not do” (Forster 2000b: 62). Unfortunately, Bast does not
know the name of this “something”. But if he only
had a chance to hear the comment of the narrator,
he would know “that something . . . was the spirit
of English Prose” (Forster 2000b: 62). The word “spirit”
clearly points to a spiritual nature of the value in ques-
tion. It cannot be measured, weighed, copied from others
or simply learnt by heart and used as something
own and personal. Culture and art require personal
contact and understanding; the imitation is definitely
not enough.
The expectations and artistic fancies drawn
on the basis of written word this time too do not tally
with the harsh reality of the protagonist. The inability
at first to notice the discrepancy and then to realize
the impossibility of bridging the two realms induces
an ironic smile on the part of the reader. The irony
is additionally reinforced by the knowledge of the nar-
rator shared with the reader that the protagonist’s naïve
attempts to change his fate with the help of art
(via reading books, listening to music, etc.) are doomed
to failure.
Conclusion
As it can be seen from the above, Bergson and Forster

share a lot as for the ironic perception of life. Consider-
ing the works of the two, it appears virtually impossible
that Forster knew nothing about Bergson’s ideas
on laughter, so widely spread and popularized in Eng-
27
land at the dawn of the 20th century. The traces
of the French philosopher’s ideology are clearly percep-
tible in Forster’s novels. Following, the writer employed
the ideas concerning laughter and its corrective power
into his prose works. The employment is visible both
on the level of plot and the scenes, events and descrip-
tions it includes, as well as on the level of narration
and communication (utterances), when the contact
of the narrator with the implied reader is utilized.
The levels cross and mix, offering as a result a thorough,
irony-based picture of the society and its vices.
The quotation from the final part of Bergson’s essay
may very well serve as the final part of the present arti-
cle:
Laughter comes into being in the self-same fashion.

It indicates a slight revolt on the surface of social life.
It instantly adopts the changing forms of the distur-
bance. It, also, is a froth with a saline base. Like froth,
it sparkles. It is gaiety itself. But the philosopher
who gathers a handful to taste may find that the sub-
stance is scanty, and the after-taste bitter (Chapter 3).
Bibliography
Baldick, Chris (ed.)

1990 The Concise Dictionary of Literary Terms.
Oxford: Oxford University Press.
Bergson, Henri
1900 Laughter: An Essay on the Meaning of the
Comic. (http://www.gutenberg.org/etext/
4352) (date of access: 20 March 2010).
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Booth, Wayne Clayson
1975 A Rhetoric of Irony. Chicago: University
of Chicago Press.
Colletta, Lisa
2003 Dark Humour and Social Satire in the Modern
British Novel. Gordonsville: Palgrave Macmil-
lan.
Crews, Frederic
1962 E. M. Forster. The Perils of Humanism. London:
Oxford University Press.
Cuddon, J. A.
1999 The Penguin Dictionary of Literary Terms.
Oxford: Oxford University Press.
Edward, Mike
2001 E. M. Forster: The Novels. Gordonsville:
Palgrave Macmillan.
Forster, Edward Morgan
1960 The Longest Journey. Harmondsworth:
Penguin Books.
1976 Where Angels Fear to Tread. London: Penguin
Books.
2000a A Room with a View. London: Penguin
Classics.
2000b Howards End. London: Penguin Classics.
Gibka, Sławomira (ed.)
1992 Leksykon malarstwa od A do Z od początków
do współczesności. Warszawa: Muza S.A.
Gillies, Mary Ann
1996 Henri Bergson and British Modernism.
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Martin, John Sayre
1976 E. M. Forster. The Endless Journey. Cambridge:
Cambridge University Press.
29
Oliver, J. O.
1960 The Art of E. M. Forster. Melbourne: Mel-
bourne University Press.
Treuherz, Julian
1996 Victorian Painting. London: Thames and
Hudson.
Walczuk, Anna
2005 Irony as a Mode of Perception and Principle
of Ordering Reality in the Novels of Muriel
Spark. Kraków: Universitas.
30
Paweł Wojtas
Linguistic Academy of Warsaw
E. M. Forster’s Uneasy Bildungsroman:

Exploring the Meanders of Existential Aporias
in The Longest Journey
Uneasy Bildungsroman; the very caption of my article

may in fact smack of truism as it would be far more
difficult to come across an existential modern novel
which does not present – as I put it – uneasy, distorted,
always deferred, Bildungsroman features, because there
is no such thing as a normative, cut and dried receipt for
Bildungsroman in modernity. Nevertheless, E. M. Fors-
ter’s by all accounts controversial The Longest Journey
does sketch a peculiar silhouette of an existentialist
novel, whose stylistic ambiguities as well as hypodermic
semantic heterogeneity call for alternative critical ap-
proaches and sensibilities.
The novel invites a plethora of diverse hermeneutic
slants via which to come to terms with the very intrica-
cies. Bearing in mind its historical milieu it ceases
to strike as baffling that the novel pulls a number
of hermeneutic strings deeming it so excruciatingly
complex; yet not necessarily complex in terms
of its difficulty or stylistic artistry, but interpretative
heterogeneity. With this in mind, my proposition to read
it through the lens of existentialism or fit it in the stencil
of the (inverted?) Bildungsroman model may appear
31
to be reductionist, and so it undeniably is in isolation.
For this reason, albeit existentialism in the post/modern
context will appear in the article as a backbone
of my critical inquiry, I will attempt to filter the existen-
tial aporias of protagonists through supplementary
approaches of psychoanalytical, deconstructive and her-
meneutic reading. Furthermore, in order to do justice
to the novel’s irreducible singularity it is vital that
I scrutinize the hypodermic workings of Forster’s sym-
bolism and mysticism as the writer’s idiosyncratic im-
prints of textual alterity.
My article will seek to propose that minor characters
in Forster’s oeuvre serve not only as symbolic supple-
ments to the main characters’ personal development
as well as existential concerns, but in fact epitomize
or entail prime narrative issues, rendering thus the main
characters every so often secondary ventriloquists
of these problems. The novel presents traditional
Bildungsroman at its most convulsive, even inverted,
as the main character Rickie ineluctably suppresses
traditional existential innocence–experience trajectory
characteristic of Bildungsroman, namely fails to resist
social conventions at the expense of the manifestation
of his individuality and personal fulfilment. This cliché-
ridden classification of the character would require
no further commentary had it not been attributed
to his peculiar complexes as well as neurotic stylistic
and narrative turns, which require explanation
in the proposed context.
At the outset, what is essentially meant by Bil-
dungsroman tradition in literary theory and in what
ways does it serve to dissect the character’s constitution?
Broadly, Bildungsroman – standing for the novel
32
of upbringing or coming-of-age – would adopt a charac-
ter (typically a young male heterosexual), whose existen-
tial trajectory from innocence to maturity comes to frui-
tion through experience and a chain of thrills and spills,
which gradually shape the protagonist’s standpoints
(Cuddon 1998: 82). Interaction with society plays
the first fiddle in the formation of one’s individuality;
namely the protagonist is necessarily sceptical about
social conventions, yet the scepticism is not to deepen
his/her antisocial or anarchic proclivities, but in fact
is to form individuality within the confines of social
conventions,4 which also marks progression from rebel-
lion to reconciliation (not obsequiousness, though)
with society.
Rickie’s (the main protagonist’s) existential trajec-
tory epitomizes a blatant asymmetry of a conventional
Bildungsroman character. In a nutshell, Rickie, a Cam-
bridge graduate and a promising writer-to-be, instead
of pursuing his writing flair, ends up marrying a repul-
sive femme fatale Agnes, and gets entangled in social
conventions entailing his intellectual and artistic stagna-
tion. Rickie’s personal inclinations are hence given
up for the mundane, which hampers his anticipated line
of experience in the Sartrean sense. Also the ending
of the novel, that is the protagonist’s abrupt death, ap-
pears to stand at variance with an emblematic Bildungs-
roman character, whose long journey to experience
and knowledge is expected by the convention to be re-
warded with a happy ending. What is it there
4 Which perhaps distinguishes the traditional Bildungsroman model
from its related picaresque genre, whose characters are funda-

mentally antisocial and at odds with society.
33
in The Longest Journey that defers Bildungsroman,
yet still can be read through its lens?
For the most part, a historical facet calls for atten-
tion. Needless to say that modern literature and philoso-
phy were subject to manifest aesthetic schism
at the outset of the 20th century. Forster, univocally
deemed an Edwardian and – by many – a non-modernist
writer, appeared to have shunned linguistic intricacies
of his high-modernist contemporaries. Nevertheless,
the very reduction of the writer to a position of a bard
of Victorian-Edwardian literary sentiments, if more
applicable to his Italian novels, would leave the prob-
lematic of The Longest Journey unaccounted for.
The oft-quoted contradicting stances of a renowned
Forsterian Lionel Trilling affirming that the novel
is simultaneously “the least perfect” and “the most
brilliant” of all Forster’s novels provokes a commentary
(Harvey 1966: 117). The reason for the paradox
is the novel’s clash between the linearity of plot
and aesthetic, on which Wilde comments that Forster:
fails to achieve sufficient distance from the problems

that most interest him to use them as proper grist
for his artistic mill. When that happens, the novel
that results is likely to fail in coherence and integral-
ness (1964: 27).
The formal incoherence may thus be either attributed

to the proposed author’s solipsistically conditioned
conflation of plot, or to the overall modernist tendency
towards aesthetic fragmentation and disintegration.
The very question of modernist tendencies stealthily
creeping in the 20th century literature does not remain
without resonance within Bildungsroman convention.
34
A fitted out model of existential trajectory from inno-
cence to experience developed by the Enlightenment
requires a univocal classification of the character. Thus
a dialectical constitution of the character challenged
by modern sensibilities, deferring normativism
and empirical dogmatism, create an alternative model
of a character pursuing his existential Via Dolorosa.
The Forsterian trajectory, ornamented with modernist
concerns of inner complexity and fragmentation of per-
sonality, renders the conventional existential trajectory
in terms of the Bildungsroman canon thwarted. A mod-
ern existential character will thus still strive for maturity,
yet the socio-cultural context requires a character able
to respond to the arbitrariness of the world. Accord-
ingly, the existential meanders may gain in unprece-
dented complexity, which in the case of the protagonist
of The Longest Journey takes place on the level
of the unconscious.
Although English Enlightenment, Romanticism,
and Victorian literature witnessed notable modifications
of Bildungsroman characters, a fundamental nexus
linking the influences, namely dialectics, rendered
the genre decipherable in terms of a normative conven-
tion. Modernist fragmentariness and reversal of norma-
tive dichotomies (vide Bakhtin) made the Bildungsro-
man project less doable. It can be argued that Bildungs-
roman in the postmodern context, where the modernist
heritage of fragmentation is further accelerated
by the tenets of paranoia and schizophrenia, is not viable
due to the assumed arbitrariness of moral and aesthetic
premises, which defer smooth transition of elementary
normative notions of the convention – pertaining
35
to a character’s progress or narrative linearity –
to the postmodern literary venue.
Another aspect in Forster’s fiction testifying
to a modernist propensity towards deconstructing nor-
mative dichotomies on the characters’ existential axes
is the ominous hypodermic use of irony, perhaps best
summarized by Wallace as:
the combination of friendly and accessible, prosaic

and commonplace liberal-humanism, and the wry,
ironic sense of the potential fragility of this whole
humanist project, is precisely what might be identi-
fied as modernist in Forster’s fiction (2007: 24).
Indeed the use of irony in the existential context

in The Longest Journey is particularly manifest
in the writer’s treatment of death and its impact
on the character’s experience. Forster’s undoing
of death–existence dichotomy draws particular attention,
since not only does it entail complex existential concerns
but also analogously affects the narrative and language.
In Forster, a high fatality rate and abruptness
of characters’ death, as well as its existential conse-
quences appear to be perplexing; the reader learns
out of the blue, unassisted by any narrator’s preludes,
that: “while he was out his mother died. She only sur-
vived her husband eleven days” (1973: 33); straight
after the narrator’s ample description of his athletic
features “Gerald died that afternoon. He was broken
up in the football match” (1973: 56); and when suddenly
Rickie spots his half-brother Stephen on the rails,
he does not hesitate to rescue him before the train drives
him over yet:
36
it is also a man’s duty to save his own life, and there-
fore he tried. The train went over his knees. He died
up in Cadover (1973: 281).
It must be admitted that the prose appears to be pain-

fully scanty and mundane for Forster’s customary so-
phisticated Edwardian language and inadequate
to the gravity of situations described. Such an approach
to death is at odds with Bildungsroman convention
(especially with regards to the main character’s death),
where the death of secondary characters is utilized
as another stimulus for the protagonists’ existential
progress and not a destructive force annihilating
his/her existence. Death in The Longest Journey may
partially fit in the template, especially in the invoked
instances of Mrs Elliot’s and Gerald’s death, which
inaugurate new chapters in the protagonist’s life,
and each augur different journeys for Rickie to come,
and by the same token Rickie’s death harbingers
the continuation of the existential journey through
the salvaged Stephen.
What strikes as vexing though is the very terseness
of death, which via black irony not only exposes mod-
ernist proclivities but also deconstructs the conventional
existential trajectory. The author takes pains to render
death as invisible through unexpected narrative shifts,
and as seemingly unimportant via prosaic language
as possible. As a result, the reader along with the subse-
quent deaths becomes emotionally “anaesthetized”
and existence–absence axis becomes as complicated
as to be blurred at all. It is inferred that although Rickie
dies, Stephen lives on and continues the former’s longest
journey by most probably marrying Agnes, which adds
37
to the plot a tinge of mystique and otherness sympto-
matic of Forster fiction.
Existence in the Sartrean sense is understood
by a state of being of an entity whose becoming is con-
tingent on his/her own autonomy of choice. Forster’s
mystical transmission of Rickie’s existential ballast
to Stephen destabilizes the existentialist fundamentals,
yet points at other existential aporias, that is the conflict
between the subjective and objective; the real and imagi-
nary; existence and absence. Rickie’s mother’s death
entails the protagonist’s strong desire to seek her coun-
terpart in Agnes, and Gerald’s (Rickie’s bully at primary
school and Agnes’ fiancée) death motivates him to idol-
ize Agnes in order to put himself in the athlete’s shoes,
and get rid of his complexes. The boundary between
the real and imaginary becomes thus blurred. Rickie
visibly creates subjective realities, which confronted
with the objective real bring about his existential fiasco,
and, as mentioned, death.
Should I go on invoking psychoanalytical reading
of Forster, it must be noted that Rickie tends to construct
his peculiar imaginary ideals, namely nature, idiosyn-
cratic enclave of books, Agnes as substitution
for his mother. If any of the ideals either supersedes
another or collides with reality, the protagonist experi-
ences existential aporia, which paralyzes his autonomy.
Rickie’s casus can be read through the prism of Baudril-
lard’s notion of simulacrum, that is a supplementary
version of reality created artificially, which substitutes
and destabilizes the original reality (Selden 2005). In-
deed, Rickie creates a subjective simulacrum of reality
on the level of the imaginary, which substitutes
the tangible reality, and since the imaginary and the real
38
prove to be irreconcilable, the character intensifies
his complexes further.
It will be observed that Rickie’s dedication to fiction
he idolizes dangerously encroaches upon the real:
How could Rickie . . . make a living by pretending

that Greek gods were alive, or that young ladies
could vanish into trees? (Forster 1973: 156).
He tries to express all modern life in the terms
of Greek mythology, because the Greeks looked very
straight at things, and Demeter or Aphrodite
are thinner veils than “The survival of the fittest”
(Forster 1973: 178).
To him the world shall be beautiful and pure. When
it is not, he ignores it (Forster 1973: 119).
It is implied that Rickie not only (ironically put as it may

be) pretends that the fiction is real but he also interprets
the tangible reality through the lens of the fictional one.
As a result, when the world he physically encounters
does not match the idolized one, “he ignores it”.
The very ignorance is crucial to understanding Rickie’s
impossibility of dealing with existence and his eventual
failure. Bildungsroman characters would typically use
their existential stimuli, be it imaginary or tangible,
for building and enhancing their experience through
understanding and adapting to the real world and soci-
ety. Through experience they become enriched,
with each encounter contributing to the character’s
maturity and synthesizing his individual constitution.
Rickie subjectively substitutes the real for the imaginary,
yet since he cannot renounce the objective, he experi-
ences anti-Bildungsroman existential regression, con-
cluded by the narrator after the chain of his existential
failures: “He remained conscientious and decent,
39
but the spiritual part of him proceeded towards ruin”
(Forster 1973: 197).
In the case of his perception of Agnes, there is a no-
table clash between the real and imaginary. When dur-
ing a walk Agnes insists on being shown a dell depicted
in one of Rickie’s stories, he responds:
‘We passed it.’ He had meant to pass it. It was too

beautiful. All he read, all he had hoped, all he had
loved, seemed to quiver in its enchanted air. It was
perilous. He dared not enter it with such a woman
(Forster 1973: 78).
Why would he refuse to show the dell to Agnes,

whom he after all – at this point of the plot at least –
adores? Both the dell and the glorified Agnes lie within
the confines of the unreal, to which Rickie assigns abso-
lute values. The translation of the unreal into the real
simply breaks its spell. All of a sudden, the woman
he loves is referred to by a pejorative epithet and re-
duced to merely ‘such a woman’, as if unfit, nay ‘peril-
ous’, to the world he has given himself entirely to. Ricky
does not intend to show Agnes the dell since he does not
wish to endow her with the knowledge which would
mean a sheer profanity of his sacrum (imagination
and writing).
From existentialist standpoint, a Bildungsroman
character takes a decision, but the very resolution
is to be precarious even if sometimes fraught with con-
sequences. The marriage seems to be opportunistic,
not because it is cliché-ridden, but mainly because
it constitutes Rickie’s confusion of the real and the sub-
jective. The reader is uneasy about the fact that Rickie
chooses to satiate his peculiar unconscious proclivities
40
as opposed to natural – auguring personal development
– ambitions, namely writing career which he renounces
for the unhappy marriage and conventional life. Agnes
as myth is favoured over Agnes as human being;
the myth which is not realized in her genuine qualities,
but in the semblance with his mother as well as Rickie’s
adulation of her tragedy so much akin to romantic ide-
als, resulting from Gerald’s death: “the tragedy
that he deemed immortal” (Forster 1973: 79).
An accurate epitome of the tensions within the dou-
ble reality has been provided by Ansell tenaciously
drawing circles in squares. When Rickie asks whether
they are real Ansell answers: “The inside one – the one
in the middle of everything, that there’s never room
enough to draw” (Forster 1973: 23). According to Thom-
son, whereas the circle stands for reality, square epito-
mizes the imaginary (1967: 142). Since the process
of inscribing circles in squares is inexhaustible, the mo-
ment of obtaining the sense of the real is unattainable
either. Translated into the matrix of Rickie’s experience,
the real is being incessantly deferred and never obtains
the status of the pure real, since it will always welcome
another square, the unseen to substitute it. The very
deferral of the real, in the vein of the Derridean notion
of différance, producing the tension brought about
by marrying off the real to the imaginary, and the im-
possibility of dealing with the very tension harbingers
disillusionment.
This clash also pulsates in the tissue of Bildungsro-
man and is attributed to the protagonist’s lack of existen-
tial experience, observed by the omniscient narrator:
41
He has no knowledge of the world; for example,
he thinks that if you don’t want money you can give
it to friends who do. He believes in humanity be-
cause he knows a dozen decent people. He believes
in women because he loves his mother (Forster 1973:
66).
This wry narratorial report on the protagonist’s idealis-

tic, misguided sense of reality not only matter-of-factly
summarizes humanism, but also smacks of misogyny.
The fragment embraces facets generating Rickie’s com-
plexes, which in the long-run spawn the split reality
preventing him from obtaining maturity and happiness.
As rightly observed by McConkey, since the world
around Rickie is not a patch on the idealized values
of the unseen, the protagonist endows others with these
supreme qualities (1971: 65). Nevertheless, when reality
verifies and exposes the subjective, the fallacy provokes
disenchantment.
Apart from the marriage with Agnes, one of such
existential erroneous beliefs is epitomized by Rickie’s
half-brother Stephen – a reckless, uncouth drunkard
referred to as “a law to himself” (Forster 1973: 280).
Rickie – remorseful about his former rejection
of his brother – decides to look after him and help
him break even, providing the other promises
not to touch alcohol. When the promise is broken, Rickie
is shattered, which objectively seems slightly far-fetched,
yet superbly exposes Rickie’s idiosyncratic aporia.
Hence, he exclaims that Stephen is “suddenly ruined”
and admonishes himself for having “[p]retended again
that the people were real” (Forster 1973: 280). Rickie
again, having taken the promise for granted, confuses
myth with reality.
42
However, why should Rickie be so affected about
the broken promise? Is it another token of his naively
idealistic tic of bestowing others on absolute values,
wide of the real as it may be? According to Page,
Stephen “is not an incarnation of the spirit of the land-
scape” which Rickie believes him to be (1987: 70).
To Rickie, reality equates with nature and nature trans-
figures into myth through imagination. Rickie loves
nature which betrays him, hinting thus at Edwardian
dedication to naturalism confronted with modernist
schism of values. Since the established myth returns
to and collides with reality, which forms a peculiar
vicious existential circle involving a trajectory from
the imaginary to the real, Rickie experiences his existen-
tial defeat; hence the hyperbolized reaction. Rickie ap-
pears to be exposed and vulnerable to the undoing
of his imaginary myths, affecting every existential aspect
he attaches importance to.
As argued before, such blows, stirring from
the hopelessness of fulfilment of the subjective,
are struck by Stephen and Agnes. By the same token,
the rejection of his fiction by a publisher, birth and sub-
sequent death of his lame daughter, awareness
that Stephen is in reality his beloved mother’s and not –
as he had thought – father’s illegitimate son, will all lead
to Rickie’s demise, which tells him apart from an arche-
typal model of a Bildungsroman character, whose mis-
haps entail a protagonist’s eventual success as well
as ontic and moral synthesis.
Another aspect – that contributes to The Longest
Journey as being a flawed Bildungsroman – to consider
is a function and representation of the secondary charac-
ters. Rickie’s entourage serve as a fixed set of existential
43
“signposts”. They all can be univocally classified
and provide the exemplification of an ideological integ-
rity; they are all symbols which stand for broader exis-
tential and social templates; they are defined. Ansell –
an academic mind – for instance, represents the world
of books, Agnes and her brother Mr. Pembroke person-
ify convention, and Stephen represents nature. Rickie’s
inner clash consists in his inability to define himself.
This however may portray Rickie as an existentialist
character, yet what constitutes his existential aporia
is the inability to come to terms with freedom–
convention dichotomy. He in fact epitomizes both, hence
the preference of any of them is bound to entail the other
and defy its pure existence, amply reflected in Rickie’s
sense of double reality and subjective contriving
of myths. Accordingly, the conventional Rickie will
yearn for freedom, the free one will fail to make use of it,
which thus renders him bordering on a representation
of a tragic romantic hero as opposed to a Bildungsroman
protagonist. Characters as noted above may in fact have
a uniform constitution, yet Rickie’s misconceptions
and intended complexity of their portrayal by the narra-
tor who is painfully committed to relativizing
their seemingly uniform representations make matters
complicated in terms of fashioning an overall fixed
framework of the characters’ profile.
Forster’s characters prove to be ambiguous and in-
termittently escape the form they have been initially fit
in by the narrator or Rickie himself. The former in fact
adroitly deconstructs characters he creates, by forming
a particular behavioural silhouette, just to further re-
verse it. Therefore, the reader observes that Rickie’s
mother, who epitomizes good and purity, is later con-
44
ceived of from a different ethical angle after the revela-
tion of her having had an affair with a farmer resulting
in an illegitimate son Stephen’s birth; the idolized Agnes
suddenly experiences a sadistic “shrill of joy when
she thought of the weak boy in the clutches of the strong
one” after she learns from Gerald that he had bullied
Rickie as a child (Forster 1973: 56); also Gerald’s image
is deprecatingly reversed, as after the narrator’s ample
description of his Greek-like physique and belligerent
dispositions, he becomes all of a sudden broken
up in a trifle football match and in death “[h]e was cry-
ing like a little, frightened child” (Forster 1973: 57), most
probably like young Rickie whom he had bullied.
These ambiguous moral and behavioural edges
of the characters are deliberately confounded in order
not to make them fit in a reductionist diachronic classifi-
cation, which – as regards Forster fiction – is elucidated
by Harvey as follows:
But in his novels the moral impulse is usually held

in check, because, having accepted the framework
of social comedy as his literary mode, he must
to some extent fulfil the expectations aroused
by that framework, and . . . such a crude division
of humanity into black and white would, if enforced,
only arouse the hostility of the reader (1966: 121).
This necessity to problematize the characters, be it con-

tingent on the reader’s expectations as imputed
by the critic, or modernist tendency towards the reversal
of moral values, has an enormous impact on distorting
Bildungsroman features, ever since Rickie’s existential
demise is caused by his misunderstanding of the sur-
rounding world. The more complicated the secondary
45
characters, the more confused and less visible the pro-
tagonist, and the farther deconstructed social relations.
While conventional Bildungsroman is based
on the evil-towards-good trajectory, and blatantly un-
derscores the very dichotomy, Forster conflates moral
values and renders the dichotomy destabilized, which
is even directly referred to by the narrator:
Rickie suffered from the Primal Curse, which is not –

as the Authorised Version suggests – the knowledge
of good and evil, but the knowledge of good-and-
evil (Forster 1973: 194).
This hyphenated combination of contradictory values

testifies to the postulated arbitrariness of good-evil
dialectic corroborated by the narrator. Furthermore,
the reference to the Bible itself and the biblical “Primal
Curse” intensify an archetypal dialectic division
of the moral values, which Rickie blindly reverences
and thus “suffers from”. The very notion of suffering
also suggests that Rickie through the misapprehension
of fundamental truths will be subject to misery, which
is mystically irrevocable and imprinted on (like
the primal curse itself) in his destiny.
The Bildungsroman model usually involves pro-
tagonists who are central figures of the plot and treat
other people and places as stop-overs from which
to further their existential route. The secondary charac-
ters are then expected to function, and not necessaril
to be. By underscoring the utilitarian as opposed
to ontological role, the characters are supposed to fulfil
certain part in the society; they are meant to be pigeon-
holed and straightforward to guard the protagonist
46
and redirect the reader’s focus on the protagonist.
Forster’s Bildungsroman gives the impression of being
unremittingly deferred as the narrator introduces secon-
dary characters, who are as crucial to the plot
as to sometimes confuse the reader about the actual
centrality of the protagonist. Hence, technically,
it is Stephen who emerges as the hero, despite the fact
that the lion’s share of the narration is centralized upon
Rickie. After all it is Stephen who survives the protago-
nist, mystically continues his ongoing existence
and it is through him that happy ending (so central
for Bildungsroman) is plausible. Why does the narrator
decentralize the protagonist by accentuating supplemen-
tary characters then?
As argued above, Rickie tends to endow others with
absolute values and hence deify them at the expense
of his self-depreciation. Hadaczek, for instance, quotes
a passage from Ewski’s diaries, where the latter postu-
lates that a (Bildungsroman) protagonist suffers
from the split self which is caused by the fact that
“a man . . . regards himself unimportant against
the man, whom he is to surface from himself” (1985: 84).
Accordingly, a typical Bildungsroman characters may,
like Rickie, depreciate themselves, but such downgrad-
ing is the result of the investment in the potential self
which is to evolve. Nevertheless, Rickie seems
to be oddly aware of his irrevocable deficiency (lame-
ness) and sacrifices himself to the self-inflicted fate.
However, since the desire to institute the superiority
remains unquenched, the responsibility is redirected
to others (the mythologized Gerald or naturalized Ste-
ven). The very notion of self-depreciation substantially
47
contradicts the Bildungsroman existential foundations,
as it does not promise the character’s development.
Perhaps the most striking feature testifying
to Rickie’s capitulation against existentialist élan vital
and manifestation of repudiation of personal ambitions
is reflected in the following passage expressed straight
before the birth of his lame daughter: “His mother
had forgotten herself in him. He would forget himself
in his son” (Forster 1973: 187). It is not only Rickie’s
blind dedication that comes as bewildering, but primar-
ily his reluctance to cut loose the form he is inscribed
in. He adores his mother, hence he will gladly follow
her footsteps and live her life. Rickie thus renounces
his own existence not only for the sake of his unborn
child, but also his mother by emulating her, and,
as it will turn out later, for the sake of Stephen, whom
he rescues and dies for. Hence death in Bildungsroman
tradition is an unlikely undertaking, ever since the re-
sponsibility for existence can be taken only by undergo-
ing the very existence, and death evinces itself as oppor-
tunistic and pointless if the goal is the cultivation
of the soil of experience.
Rickie is obviously reluctant to fulfil his duties
as a main protagonist, hence the secondary characters
intermittently relieve him of the responsibilities,
and – comically enough – even by living his life after
his death, as in the case of Stephen. The self-depreciation
blocks a genuine trajectory of experience, which nor-
mally should be realized by the self, yet since the latter
is unattainable, other characters are burdened
by the task. The fact that it is Stephen who continues
the eponymous longest journey constitutes another twist
48
in the convention, which, however mystically, is still
inscribed in the existentialist narrative trajectory.
The reduction of the self may be also filtered
through Royle’s reading of The Longest Journey. The critic
states that the novel’s main concern is deformity
which is an underlying narrative and structural spine
of the novel. Hence “[l]ameness and failure are inscribed
in the very structure of Forster’s work“ (1999: 25). Lame-
ness, being Rickie’s greatest complex, is indeed calqued
to all narrative dimensions: clash between plot and form,
existential regression, frequent deaths, moral turbu-
lences, flawed decisions blatantly incongruent with con-
ventional existentialist (heading towards maturity)
decisions of Bildungsroman. All the aspects testify
to the interpretative indeterminacy of this by all means
complex novel, and multidimensional deformity might
be a proposition that hints at the deconstructive, relent-
lessly deferred, indeterminate nature of the work.
Bildungsroman is by no means a taken for granted back-
bone of the novel, nor is it meant to be. It is yet a fertile
soil to start from, should one delve into the existential
grounding of the characters. The Forsterian, flawed
as it is, Bildungsroman may be far from fitting
in the customary existentialist stencil, but it indubitably
underscores necessary existential aporias and lacunae
imperative for the complex scrutiny of the characters’
inner constitution.
49
Bibliography
Bradbury, Malcolm (ed.)

1966 Forster. New Jersey: Prentice-Hall.
Cuddon, J. A.
1998 Dictionary of Literary Terms and Literary
Theory. London: Penguin.
1973 The Longest Journey. Harmondsworth:
Penguin Books.
Hadaczek, Bolesław
1985 Polska powieść rozwojowa w dwudziestoleciu
międzywojennym. Szczecin: Wydawnictwa
Naukowe WyŜszej Szkoły Pedagogicznej.
Harvey, John
1966 “Imagination and Moral Theme in
E. M. Forster’s The Longest Journey”,
in: Malcolm Bradbury (ed.), 117-128.
McConkey, James
1971 The Novels of E. M. Forster. Hamden:
Cornell University.
Page, Norman
1987 E. M. Forster. Hampshire: Macmillan.
Royle, Nicholas
1999 E. M. Forster. Plymouth: Northcote House
Publishers.
Selden, Raman
2005 A Reader’s Guide to Contemporary Literary
Theory. Edinburgh: Pearson Education.
Shiach, Morag (ed.)
2007 The Modernist Novel. Cambridge:
Cambridge University Press.
50
Thomson, George
1967 The Fiction of E. M. Forster. Detroit: Wayne
State University Press.
Wallace, Jeff
2007 “Modernists on the Art of Fiction”,
in: Shiach Morag (ed.), 15-32.
Wilde, Alan
1964 Art and Order. A Study of E. M. Forster.
New York: New York University Press.
51
Krzysztof Kramarz
Deletion, Metaphor and Footnote: the Analysis

of Polish Translations of A Room with a View
In this paper I shall analyse and compare two Polish

translations of E. M. Forster’s A Room with a View.
The author of the first translation, published in 1992,
is Agnieszka Majchrzak. The author of the second trans-
lation is Halina Najder. This version was first published
in 2003. The analysis focuses on the issues which appear
in a translator’s work rather rarely, and hence they seem
particularly interesting. The issues include the approach
towards foreign elements, such as Italian words
and phrases, as well as elements of literature by other
authors, quoted by Forster’s characters. Due to the lim-
ited space, I do not examine the translation in terms
of lexical or syntactical equivalence. This type of analy-
sis, however, has been conducted in my MA thesis,
in which I analyse the translations from a broader angle.
Translation criticism (also known as translation test-
ing and translation quality assessment) is a set of actions
meant to examine and unify the work of a translator
(Kielar 2003: 122). Translation quality assessment may
be perceived as a process consisting of three stages,
namely: the analysis of SL text in order to find items
significant from the point of view of translation, com-
parison of the translation with the original text
52
and quality assessment (Kielar 2007: 124). Another
model consists of four stages (Dąbska-Prokop 2007: 53).
This model differs significantly from the previous one,
as it suggests starting from the reading and analysis
of the target language (TL) text. The second stage
is the analysis of the source language (SL) text. The main
object of the third stage is the translator himself –
his perspective, approach to the texts etc. The last stage
is “the actual criticism” aimed at four aspects: clarity,
reflectivity, discursiveness and usage of footnotes
and comments.
In the translation criticism conducted herein, I ap-
plied the model that requires start from the analysis
of the SL text and finding items that may be significant
in the quality assessment. I found it useful, however,
to analyse the TL text on its own as well, in order
to make sure that it does not contain blatant linguistic
errors. Certain errors, such as awkward and artificial
expressions in the TL, can be identified without refer-
ence to the original text (Reiss 2000: 11). However,
it is no surprise that such an analysis is not sufficient
to assess the translation. Obviously, this aspect of trans-
lation cannot be neglected, as it is very important
that the translation meets all TL linguistic norms,
but such an approach gives no information about
the relation of the SL text with the TL text. Linguistic
errors are not necessarily connected with translational
errors, but they are equally important in the global as-
sessment of the TL text.
There is no agreement on the unit of assessment.
Some scholars, like Balcerzan (1982: 224), suggest focus-
ing on details and the smallest, basic units of work
and claim that only this attitude may lead to credible,
53
objective criticism. I tend to support the opinion
that critics should pay attention to the smallest units
as it is impossible to predict, without any doubt, re-
sponse to a translation. Obviously those units
are not necessarily words or structures – they might
be whole thoughts and ideas as well. On the other hand,
translation should be also assessed from a “global” point
of view, aimed at such features as “the overall spirit
of the book” (Nossack in Reiss 2000: 15).
In my analysis I decided to combine both points
of view: global and detailed. Each of them is valuable
but neither is sufficient on its own. Attention paid
to details may indeed not give enough insight
into the spirit and general shape of a work, while judg-
ments on “the overall spirit” are not necessarily objective
enough and rarely make a scholarly analysis.
Translation criticism may be subdivided into “as-
sessing” criticism and “descriptive” criticism. The first
model consists in judgment of a translation or its com-
ponents and gives room for subjectivity. In the second
model, a critic is supposed to analyse discrepancies
(and possibly convergences) between texts and show
the result of changes within elements of the texts in other
elements, and the text as a whole. In this case, one may
assume that the criticism will be as objective as possible.
Nonetheless, total objectivity is impossible to achieve,
since every critic (just like every translator) is endowed
with their own outlook, cultural heritage, etc. (Bed-
narczyk 1999: 187-200). I tend to agree with the opinion
that descriptive criticism is more constructive, as it does
not impose solutions provided by a critic, who also may
be wrong. I support the model which, instead, consists
in highlighting errors and subjecting them to discussion.
54
Even in descriptive criticism there might be room
for a critic’s invention but the critic should not present
their own solutions as unconditionally superior.
Both translators display different approaches to-
wards foreign elements. A Room with a View is abundant
in quotations as well as allusions and references to other
works. In the second chapter, Mr. Emerson quotes Al-
fred Edward Housman’s poem. Housman, who lived
between 1859 and 1936, was well-known to the readers
of novels such as A Room with a View, and hence Forster
did not find it necessary to explain the origin
of the quotation and probably assumed that it was obvi-
ous. The issue with Polish translation is a bit different –
Polish readers are usually not familiar with Housman’s
poetry and certainly they will not be able to identify
the translated quotation. The poem has not been trans-
lated into Polish before, and the stanza in question
was translated exclusively for the need of the novel.
From far, from eve and morning

And yon twelve-winded sky,
The stuff of life to knit me
Blew hither: here am I.
(Forster 1990: 26)
Z daleka, z ciemności i ze światła,

I z nieba wietrzystego
Duch Ŝycia wionął na mnie – otom jest.
(Majchrzak 1992: 29)
Z oddali, z wieczora i ranka,

Z dwunastu wiatrów nieba,
Coś, co tka moje Ŝycie,
Przygnało mnie aŜ tu
(Najder 2003: 35)
55
Najder translated the poem more faithfully
than Majchrzak and managed to translate even relatively
tricky items (“twelve-winded sky” as “dwanaście wiat-
rów nieba”) and save the original form of the stanza.
Majchrzak, on the other hand, totally mistranslated
the stanza, replacing “eve and morning” with “ciemność
i światło” (‘darkness and light’), which are not necessar-
ily equivalent, and “twelve winded sky” with “niebo
wietrzyste” (‘windy sky’), which is an obvious simplifi-
cation. What is more, she omitted the line “The stuff
of life to knit me”, which was quite accurately translated
by Najder as “Coś, co tka moje Ŝycie” (‘Something
that weaves my life’).
The fact that the translation seems somewhat faulty
is an important but not the crucial issue here. More
significant is the approach towards this foreign piece
of literature, unrecognizable for Polish reader. Najder
did not identify the poem, so that it looks as if it were
written by Forster himself. Majchrzak, on the other
hand, uses a footnote to explain the origin of the poem.
However, she is not precise enough. Her footnote reads
“Alfred Edward Housman, “A Shropshire Lad”,
tłum. Agnieszka Majchrzak”. In fact, A Shropshire Lad,
published in 1896, is a cycle of sixty-three poems,
and the correct title of the specific poem used in A Room
with a View is “From Far, From Eve and Morning”. De-
spite this flaw, the reader is provided with the name
of the author and it gives him room for further research.
A similar problem appears once again in the ninth
chapter of the novel, but is tackled in a bit different way
as the poem was translated before. Here Cecil quotes
a poem which is not identified in A Room with a View:
56
‘“Come down, O maid, from yonder mountain
height,”’
he quoted, and touched her knee with his own.
She flushed again and said: ‘What height?’
‘Come down, O maid, from yonder mountain height:

What pleasure lives in height (the shepherd sang),
In height and in the splendour of the hills?’
(Forster 1990: 97)
– W płatki swe całą słodycz zagarnęła lilia,

Ze słodyczą zapada w głębinę jeziora: – wyrecytował
i dotknął jej kolana swoim.
– W głębinę jeziora? – zapytała rumieniąc się.
– Tak się ty spowij w siebie, miła, i w głębinę
Zapadaj moją, póki nie zatoniesz we mnie.*
*Alfred Tennyson, fragment poematu Królewna,

tłum. Zygmunt Kubiak.
(Majchrzak 1992: 85)
– „Szczyty wysokie porzuć, dzieweczko” – zacyto-

wał i kolanem dotknął jej kolana.
Zaczerwieniła się i zapytała:
– Jakie szczyty?
Szczyty wysokie porzuć, dzieweczko,

Pasterze nucą o gór majestacie.
CóŜ za rozkosze znajdziesz na wyŜynach?
(Najder 2003: 115)
The case, at the first sight, is similar to the previous

one. In the text of the novel there appears a poem writ-
ten by someone else that Forster. It may seem that
the solution is also similar to the one applied before.
Indeed, Majchrzak added a footnote which explains
the origin of the quotation. Unlike in the previous “bor-
rowed” text, here she did not translate the poem herself.
57
Instead, she used an already existent translation
by Zygmunt Kubiak. This puts the Polish reader
in the same situation as the English one, i.e. they find
in the novel a text which can be found on its own
in another source.
Najder translated the poem herself and did not add
the information on the origin of the stanza. In other
words, she delivered as much (or rather as little) infor-
mation as the original author, which is understandable
and totally acceptable. Najder’s translation is correct.
It contains a repetition of the first line, as in the original
text, while Majchrzak’s version does not. However,
the most important issue concerning the excerpt above
is Majchrzak’s blatant error which puts in question
the very sense of translating the quotation. She quoted
the translation of another part of the poem “Princess”
than the one used in the original text. Therefore, the only
thing that the Polish and English version have in com-
mon is the name of the author and the title of the poem,
and not the content. The stanza used by Majchrzak looks
in English as follows:
Now folds the lily all her sweetness up,

And slips into the bosom of the lake;
So fold thyself, my dearest, thou, and slip
Into my bosom, and be lost in me.
(Tennyson 1882: 578)
Clearly, this is a completely different stanza.

In terms of accuracy, Kubiak translated it correctly,
but this piece by no means should be used in the transla-
tion of A Room with a View as it does not appear
in the original text. One cannot help but wonder
what the reason of such a controversial action was.
58
One of the first things that could possibly come to one’s
mind is an error of a critic who compared different
excerpts. This is certainly not the case here. If the error
in the course of analysis is excluded, it must have been
the decision of the translator herself. One of the possible
reasons is a confusion of the translated stanzas.
The translator who identified the original source
of the quotation (by Tennyson) and the Polish version
(by Kubiak) might have mistakenly chosen a wrong
Polish stanza. This scenario, however, is not very likely,
as either the editor or the translator would have possibly
spotted the mistake in the course of proofreading
and replaced the stanza in question with the equivalent
one. If one rejects the hypotheses presented above,
the only possibility that is left is a conscious decision
of the translator. Such an intervention seems to be closer
to the creation of one’s own piece of literature rather
than to translation. Translator is endowed with certain
freedom when it comes to the choice of means of expres-
sion, but they cannot change SL meanings to totally
different TL meaning. The violation of the rule is par-
ticularly visible in the above case as the employed
TL item has its prototype in the SL text, but this is clearly
not the item used by the original author. In other words,
the stanza translated by Kubiak and used by Majchrzak
does exist in the SL text, as it is an accurately translated
excerpt from Tennyson’s poem, but it does not appear
in the original text of the novel and hence cannot be used
in the translation.
Let us follow the consequences of the alteration.
Majchrzak’s version is fairly risqué and the words:
59
Tak się ty spowij w siebie, miła, i w głębinę,
Zapadaj moją, póki nie zatoniesz we mnie
(Majchrzak 2003: 85).
could possibly be understood by Lucy as an invitation

to some kind of relationship. However, it triggers hardly
any reaction. It is so, because Lucy’s reaction is trans-
lated faithfully, i.e. it is based on the reaction to a totally
different phrase, definitely not as risqué as the one pro-
vided by Majchrzak. In other words, in this scene
the cause and result chain is distorted and does not
make sense as it consists of two elements that do not fit
each other. The first element (cause) comes from
the translator’s alteration and is not rooted in the origi-
nal text, while the second (result) comes from the origi-
nal text where it is triggered by an utterly different
cause.
Whatever the reasons behind the decision, the most
certain thing is that Majchrzak displayed disloyalty
towards the author as she did not even try to reproduce
the original text in the TL (and the task was not difficult,
as demonstrated by Najder), even though the reproduc-
tion seems to be the main task of a translator. One may
assume that Majchrzak felt limited only by her own
imagination. However, such an approach is a privilege
of authors and not translators. Translator cannot modify
the text and change the events according to their own
taste. Some scholars, including Krzysztofiak (1996),
maintain that translators should be granted some free-
dom and I fully agree with that point of view, but such
a deep change within the structure of a text is closer
to the freedom of an author rather than of a translator.
Najder seems to use the freedom more responsibly –
60
she is not a slave of the text and she is not afraid
of modifying it, but she alters certain elements in order
to make the text more intelligible and suitable in the TC
(Target Culture) reality. Majchrzak did something oppo-
site – in the quoted excerpt she misled the reader.
The foreign elements in A Room with a View include
phrases in foreign languages. In the case of the novel,
the languages are Italian and French. Bednarczyk (1999:
112-117) concludes that such additions (or interpola-
tions) are usually introduced in order to inform
the reader about the place of action or the nationality
of a speaker.
Forster’s characters often speak Italian. He does not
translate Italian and either assumes that his average
reader would understand it or deliberately leaves
them with foreign elements. The following passage
is supposed to “place” the action within clearly defined
culture.
‘So I saw. Were you indeed? Andante via! Sono oc-

cupato!’ – The last remark was made to a vendor
of panoramic photographs who was approaching
with a courteous smile (Forster 1990: 48).
Najder (or her editor) saved the Italian phrase ex-

actly as it is in the original, i.e. without footnotes
or explanation, while Majchrzak (or the editor) used
footnotes with Polish translation: “Andante via! Sono
occupato! (wł.) – Odejdź! Jestem zajęty!” (Majchrzak 1992:
48).
I tend to favour the second solution, as in the quoted
text it is fairly important to understand this phrase.
Even if it was possible to assume that a British reader
61
living in the age of travels to Italy may understand
the phrase, assumptions that a Polish reader would find
it intelligible are unfounded. Majchrzak’s footnote
makes the text understandable while Najder’s mere
quotation will be omitted by a reader who does not
speak Italian. None of the solutions is absolutely wrong
or right as they just reflect potential readers and their
capabilities imagined by a translator.
It seems that Majchrzak and Najder predicted
somewhat different readers with different background
knowledge. It may seem that Majchrzak’s imaginary
readers need additional information as they are more
curious or less willing to check unknown elements
in additional sources, while Najder’s readers are en-
dowed with great linguistic knowledge or, at least, a few
volumes of dictionaries. It needs to be mentioned
that Majchrzak is consistent in the usage of footnotes
and explains even quite commonly understandable
phrases such as Buon giorno. One could argue that
this explanation is unnecessary, but, as a matter of fact,
it proves that the usage of footnotes is a consistent,
planned strategy applied to every foreign word
or phrase. Majchrzak seems to have assumed that every
foreign phrase may pose difficulties in understanding
and decided to explain each of them.
Another matter that has always attracted translators
and translation critics is the issue of wordplays. There
may be no classical wordplays (i.e. those based on syno-
nyms, unconventional typography and spelling, ana-
grams, palindromes, plays with syntax etc.) but such
phrases as “a parson fenceless would mean a parson
defenceless” require a similar approach. The phrase
62
requires broader context, as the author himself explains
that the phrase makes an epigram.
‘We weren’t talking of real fences,’ said Lucy, laugh-

ing.
‘Oh, I see, dear – poetry.’
She leant placidly back. Cecil wondered why Lucy
had been amused.
‘I tell you who has no “fences”, as you call them,’
she said, ‘and that’s Mr Beebe.’
‘A parson fenceless would mean a parson defence-
less.’
Lucy was slow to follow what people said, but quick
enough to detect what they meant. She missed Ce-
cil’s epigram, but grasped the feeling that prompted
it.
‘Don’t you like Mr Beebe?’ she asked thoughtfully
(Forster 1990: 95).
The information in the last sentence should be used

by the translator as a tip about the appropriate approach
towards the phrase in question, if they have not noticed
its playful nature before.
– Nie mówiliśmy o prawdziwych murach – zawołała

Lucy ze śmiechem. Cecil spojrzał na nią, nie rozu-
miejąc przyczyny wesołości.
– Rozumiem – poezja… – odrzekła pani Honey-
church i oparła się z powrotem wygodnie.
– Jest ktoś, dla kogo „mury” nie istnieją – powiedzia-
ła Lucy. – Ten ktoś to pan Beebe.
Cecil milczał, nie okazując zainteresowania.
– Nie lubisz pana Beebe’a? – zapytała Lucy
(Majchrzak 1992: 84).
– Nie mówiliśmy o prawdziwych płotach – powie-

działa ze śmiechem Lucy.
– A, rozumiem, kochanie, to poezja.
63
Pani Honeychurch usadowiła się spokojnie, a Cecil
zastanawiał się, co Lucy tak rozbawiło.
– Ja wam powiem, kto nie ma „płotów”, czy jak wy
tam to nazywacie – odezwała się znowu pani Ho-
neychurch. – Ksiądz Beebe nie ma Ŝadnych płotów.
– Proboszcz bez płotów to proboszcz bezbronny.
Lucy zawsze wolno śledziła tok rozmowy, ale szyb-
ko się orientowała, o co komu chodzi. Epigram Ceci-
la przeleciał jej mimo uszu, lecz dobrze zrozumiała,
co go wywołało.
– Nie lubisz księdza? – spytała zamyślona (Najder
2003: 112).
For an unknown reason, Majchrzak did not make

much use of the tip. She ignored the whole of Cecil’s
phrase which itself is unacceptable, but what is worse,
instead of a quotation, she put in a sentence saying
that Cecil was silent, while, in the original, he shared
an epigram. Usually, the causes of errors can be ex-
plained, and sometimes errors can be even justified
to some extent, but this particular error cannot be justi-
fied as an intentional, profound intervention
into the text. There is hardly any situation that would
call for a replacement of a description of something
(action, object, sensation) with a description of some-
thing clearly opposite (the only exception is antonymic
translation, but this is definitely not the case here).
This is exactly what Majchrzak did by writing that Cecil,
who in fact spoke, remained silent and indifferent.
This is a profound change that goes even beyond
the frames of adaptation or free translation. Such
a change is nothing short of making translator’s own
order of events and own novel, which cannot happen
if the outcome of the translator’s work is meant
to be a translation and not a text loosely connected
64
or not connected at all with the original text. It needs
to be stressed that what Majchrzak applied is not anto-
nymic translation. Altogether, Majchrzak deleted three
sentences (compared both with the original text
and the other translation) and added one sentence, to-
tally unrelated with the original text.
Najder translated the epigram in such a way that
its meaning remained intact but she lost the humorous,
rhyming form that is particularly interesting from
the morphological point of view, as it looks as if one
word was derived from another by means of a prefix
even though they have nothing in common. The transla-
tion differs substantially when compared with the origi-
nal text, but looks absolutely correct in the TL conven-
tion. What is important, unlike in the first analysed
version, there is no distortion.
There might be several reasons of not recreating
the wordplay. The translator might have not been skilful
enough to do so, there may be lack of appropriate TL
linguistic items (which is hardly possible, but theoreti-
cally may happen) or they did not notice the wordplay.
I suppose that this applies not only to the allusive word-
plays but also to the language-bound wordplays. How-
ever, the excerpt above shows that some translators tend
to omit wordplays even if the original author himself
informs about the wordplay. I believe that the trouble-
some sentence is not untranslatable. Indeed, in Polish
it is hardly possible to find two words that would suit
the context, and one would look like the root
of the other, but the translators could, at least,
have made an attempt to recreate the rhyme. This might
lead to such possible versions as “proboszcz bez płotów
ma więcej kłopotów” or “proboszcz nieogrodzony
65
nie ma moŜliwości obrony”. However, if there is a dan-
ger that such a sentence will seem unnatural and it still
does not convey the whole humorous potential
of the original, the best solution is the one applied
by Najder, that is literal translation and preservation
of the message rather than form.
If the goal of a translator is to “place meanings
in the target text in such a way that the reader is led
to derive the appropriate intermediate and final macro-
structures” as suggested by Neubert and Shreve (1992:
138), then only Halina Najder seems to have accom-
plished the task. Agnieszka Majchrzak resorted to dele-
tion too eagerly, distorting the original much more
than absolutely unavoidable. Moreover, Majchrzak’s
version, classified by a publishing house as a translation
and not as an adaptation or a novel inspired by A Room
with a View, has numerous features of adaptation, in-
cluding completions and replacements. At some points
it connected with the original text even more loosely
that an adaptation. Majchrzak replaced some of the ori-
ginal items with totally unrelated ones. Hence, it is im-
possible to classify her work as a correct, accurate trans-
lation. Seemingly, the major drawback of the version
is the fact that it is located between two tendencies,
i.e. translation and adaptation, and hence it is hardly
possible to determine what kind of addressee
is the target of Majchrzak’s translation. Najder’s version
complies with the requirements of a correct translation
much better and there would be not much room
for an improvement in a potential new version
of the translation.
66
Bibliography
Balcerzan, Edward
1982 Kręgi wtajemniczenia: czytelnik, badacz,
tłumacz, pisarz. Kraków: Wydawnictwo
Literackie.
1998 Literatura z literatury (strategie tłumaczy).
(Studia o przekładzie 6.) Katowice:
Wydawnictwo Naukowe Śląsk.
Bates, Charlotte Fiske
1882 The Cambridge Book of Poetry and Song:
Selected from English and American Authors.
New York: Thomas Y. Crowell & Co.
Bednarczyk, Anna
1999 Wybory translatorskie: modyfikacje tekstu
literackiego w przekładzie i kontekst asocjacyj-
ny. Łódź: Wydawnictwo Uniwersytetu
Łódzkiego.
Dąbska-Prokop, Urszula
2007 Stylistyka i przekłady: Conrad, Orwell,
Beckett. Kielce: WyŜsza Szkoła Umiejętno-
ści.
1990 A Room with a View. London: Penguin
Books.
1992 Pokój z widokiem. (Transl. by Agnieszka
Majchrzak.) Warszawa: Comfort Oficyna
Wydawnicza.
2003 Pokój z widokiem. (Transl. by Halina
Najder.) Warszawa: Bertelsmann Media
Sp. z o.o.
67
Kielar, Barbara
2003 Zarys translatoryki. Warszawa: Katedra
Języków Specjalistycznych.
Krzysztofiak, Maria
1996 Przekład literacki we współczesnej translato-
ryce. Poznań: Wydawnictwo Naukowe
Uniwersytetu im. Adama Mickiewicza.
Neubert, Albrecht -- Gregory M. Shreve
1992 Translation as Text. Kent: The Kent State
Univeristy Press.
Reiss, Katharina
2000 Translation Criticism – the Potentials
and Limitations: Categories and Criteria
for Translation Quality Assessment. (Transl.
by Errol F. Rhodes.) Manchester:
St. Jerome Publishing.
Tennyson, Alfred Lord
1847 “The Princess”, in: Bates, 577-579.
68
Tomasz Dobrogoszcz,
University of Łódź
A Passage to OU-BOUM:
Homi Bhabha reads E. M. Forster
Conservative and traditional criticism sees A Passage

to India, Forster’s last novel published in his lifetime
(though 45 years before his death), as
a powerfully influential middle-class text . . .

the pinnacle of Anglo-Indian literature . . . that best
delivers the truth about the British Raj and about In-
dia (Hubel 1996: 85-86).
Its great success upon publication secured Forster

a position of “one of Britain’s foremost interpreters
of modern India” (Hubel 1996: 85), the book has been
subsequently treated as
a social and historical document . . . an exact depic-

tion of the mood which characterized the Anglo-
Indian/Indian relationship in the early 1920s (Hubel
1996: 85).
In time, critics noticed in the novel, apart from “liberal

criticism of politics and life in British India”, also
“an existential meditation” (Parry 2004: 163). Seen as one
of the great achievements of literary modernism in Brit-
ain, A Passage to India, with its meticulous structure
69
and indeterminate rich symbolism, was perceived
as a mythopoeia rather than a socio-historical record and
a humanist affirmation of the sanctity of human rela-

tionships egregiously violated by colonialism (Parry
2004: 163).
For decades readers and critics have seen Forster’s

novel as “a text sympathetic to the nationalist movement
and cynical about British imperialism” (Hubel 1996: 89),
which raises strong objections of many postcolonial
critics, such as Sara Suleri, who finds it “a matter
of some perplexity” (1987: 174). However, after the pub-
lication of Edward Said’s Orientalism in 1978, the school
of post-colonial criticism flourished, providing new
readings of the novel, able to see in it “the racial, cultur-
al, and sexual Other that is India” (Monk 1994).
One of such interpretations was suggested by Homi
Bhabha in his 1994 study The Location of Culture.
This paper endeavours to see Bhabha’s reading of For-
ster’s classic in a broader critical context and also at-
tempts to represent its innovation.
A Passage to India centres around the impossibility
to answer the question: “What happened in the Marabar
Caves?” In The Location of Culture, mostly in its chapter
“Articulating the archaic: cultural difference and colonial
nonsense”, Bhabha offers his conception of resolving
the enigma:
There, the loss of the narrative of cultural plurality;

there the implausibility of conversation and commen-
surability; there the enactment of an undecidable, un-
canny colonial present, an Anglo-Indian difficulty,
which repeats but is never itself fully represented. . . .
70
It all seems such nonsense. . . . It is the echochamber
of memory (2007: 180).
Subsequent parts of this paper venture to explicate

the approach voiced here.
A mere cursory look at the surface of A Passage
to India reveals that the novel attempts to show a critical
attitude towards the manner of the British rule of India.
Forster gives countless examples of racially prejudiced
behaviour, racial injustice and British heartless domina-
tion. When Ronny Heaslop, the magistrate of the city
of Chandrapore, is accused by his mother, Mrs Moore,
of having a disposition of a god in his relation
to the native people and the country in general, he gives
a cocksure answer: “India likes gods” (Forster 1985: 69).
There are certainly numerous instances of the native
behaviour which can ensure his belief – the attitude
of Indian people often appears respectful and submis-
sive, but the origins of this attitude are not what Ronny
expects them to be. The reverent awe of the Indians
comes mostly from appreciating English strength. Mah-
moud Ali says:
When we poor blacks take bribes, we perform

what we are bribed to perform. . . . The English take
and do nothing. I admire them (Forster 1985: 34).
The British domination is imposed on every aspect

of Indian life, but what perhaps seems most acute
is the enforcing of the logic of the Empire:
The roads, named after victorious generals and inter-

secting at right angles, were symbolic of the net
71
Great Britain had thrown over India. [Aziz] felt
caught in their meshes (Forster 1985: 39).
Obviously, criticism has amply acknowledged Forster’s

critical attitude to the Imperial spider devouring
the Indian body and soul.
However, a number of post-colonial critics have dis-
agreed. Suleri compares Forster’s approach with the ar-
chetypally Orientalist writings of Kipling, which used
the code
divid[ing] the world into two sections, the East

and the West, and the aim of the West was to appre-
hend the essence of the East in order to understand
and hence to rule it (qtd. in Hubel 1996: 88).
Suleri censures A Passage to India on the basis of its ina-

bility to recognise the “otherness” of India. She asserts
that Forster accounts the “unreadability” of India
not to the limitations of the Western mind, but to idio-
syncrasies of the subcontinent itself. The Marabar Caves
represent the fissure, the hollow in the European mod-
ernist literary imagination, preoccupied with its own
impairment (Cf. Hubel 87-88).5 Forster’s narrator claims:
In Europe life retreats out of the cold and exquisite

fireside myths have resulted – Balder, Persephone –
but here the retreat is from the source of life,
the treacherous sun, and no poetry adorns it, because
disillusionment cannot be beautiful. Men yearn
for poetry though they may not confess it; they de-
sire that joy shall be graceful, and sorrow august,
5 A similar charge is submitted by Chinua Achebe against Conrad’s
Heart of Darkness, which he sees as focusing on “the break-up

of one petty European mind” (1997: 120).
72
and infinity have a form, and India fails to accom-
modate them (Forster 1985: 214-215).
No doubt, the emphasis is here on the westernized

poets, not on India.
From a more traditional critical perspective, John
Beer observes that
if the caves represent one extreme of India, its ‘reali-

ty’ in one sense, Godbole’s spirit of love, rising
to ecstasy, expresses its other extreme, its other ‘reali-
ty’ (1962: 146).
Bhabha seems to contradict such traditional readings,

for him the Marabar Caves enact “an undecidable, un-
canny colonial present”, he complains that they symbol-
ize “an Anglo-Indian difficulty, which . . . is never itself
fully represented” in Forster’s novel (2007: 180). Bhabha
compellingly focuses on the question of cultural differ-
ence, but understands it very unlike Adela Quested.
For her, an “Anglo-Indian difficulty” is a problem which
boils down to plurality of cultures and, accordingly,
can be resolved by evoking to some ethical or spiritual
universality: “I want . . . ‘universal religion’ or the equi-
valent to keep me decent and sensible” (Forster 1985:
157). However, in the nonsense of the caves Adela expe-
riences a different dimension of cultural difference;
it is, Bhabha claims,
not the acquisition or accumulation of additional cul-

tural knowledge; it is the momentous, if momentary,
extinction of the recognizable object of culture
in the disturbed artifice of its signification,
at the edge of experience (2007: 179-180).
73
When Bhabha calls the present of colonial culture “un-
canny”, he refers to Freud’s essay of this title, in which
Freud, searching for the root of the German word un-
heimlich (unhomely) in its apparent opposite, heimlich
(homely), identifies the direct correspondence between
the two: the unfamiliar which raises our utmost horror
is, in fact, something most familiar to us. What is famili-
ar in culture is
its disciplinary generalizations, its mimetic narra-

tives . . . its seriality, its progress, its customs and co-
herence (Bhabha 2007: 195).
At the same time, culture is, in its authority, unfamiliar,

because
to be distinctive, significatory, influential and identi-

fiable, it has to be translated, disseminated, differen-
tiated, interdisciplinary, intertextual, international,
inter-racial (Bhabha 2007: 195).
It is this undecidability, the simultaneous emergence

of apparent opposites, which puts Bhabha close to Der-
rida’s thought.
Forster’s novel apparently disapproves of British
disrespect for Indian native culture. It reprehends
Mrs Turton, who has learned merely a few words
in Urdu
but only to speak to her servants, so she knew none

of the politer forms, and of verbs only the imperative
mood (Forster 1985: 62).
At the same time, though, the novel fails to realize

the artificiality of Anglo-Indian speech. When Aziz talks
74
about his house to Fielding, he calls it “an oriental inte-
rior” (Forster 1985: 127), which seems a typically trained
coded phrase. As Parry observes, the novel at times even
flaunts “irascible reprimands of Indian unreliability,
obsequiousness and evasiveness” (2004: 164), which can
go even as far as referring to their way of expressing
opinion. When the narration focalizes close to Fielding’s
point of view, it seems rather derogatory about the way
Indian people approach speech:
Unless a sentence paid a few compliments to Justice

and Morality in passing, its grammar wounded
their ears and paralysed their minds. What they said
and what they felt were (except in the case of affec-
tion) seldom the same (Forster 1985: 125).
Moreover, Parry further notes that A Passage to India
approaches Indian forms of knowledge with uncer-

tainty, without asserting the authority of its repre-
sentations (2004: 169).
Hubel goes even further, claiming that the novel “con-

structs Indian . . . spirituality as a danger to the western
mind” (1996: 93).
The “implausibility of conversation” mentioned
by Bhabha (2007: 180) materialises to a large extent
through the incommensurability of the English language
used. It might be a cheap excuse of an Indian schoolboy
that
the bad English grammar the Government obliged

them to use often gave the wrong meanings
for words (Forster 1985: 122),
75
but the inadequacy of the colonizer’s system of commu-
nication often stands behind the conflict of cultures.
Faced with “an unfortunate slip” in the inscription
in a Hindu temple – “composed in English to indicate
[God’s] universality” – “God si Love”, Forster’s narrator
asks “Is this the final message of India?” (1985: 283).
Sadly, it is not within modernist reach to discuss the idea
of hybridity of language (and culture), so the novel does
not develop this issue.
Bhabha examines one more intriguing characteris-
tics of the English language used in the colonial context.
Investigating the discourse of colonial governmentality,
he traces within it multifarious examples of contradic-
tion. Being another example of undecidability between
oppositions, those instances – such as John Stuart Mill’s
“the virtually despotic government of a dependency
by a free people” from his “On Representative Govern-
ment” – constitute “the act of splitting [of] the colonial
signifier” (Bhabha 2007: 182) in its enunciation.6 A Pas-
sage to India acquires its discursive authority from this
enunciatory space, in which, like in the Marabar caves,
“the work of signification voids the act of meaning
in articulating a split-response” (Bhabha 2007: 188).
Quite clearly, if the British wish to retain their authority,
they have to accept the fact that their government
in India is something anomalous, otherwise their slip
into meaninglessness. Referring to psychoanalysis,
Bhabha explains:
6 Bhabha uses the word “enunciation” in the Lacanian meaning
of the unconscious speech – not the language that I speak,

but the language that speaks me.
76
Splitting constitutes an intricate strategy of defence
and differentiation in the colonial discourse.
Two contradictory and independent attitudes inhabit
the same place, one takes account of reality, the other
is under the influence of instincts which detach
the ego from reality. This results in the production
of multiple and contradictory belief. The enunciatory
moment of multiple belief is both a defence against
the anxiety of difference, and itself productive of dif-
ferentiations. Splitting is then a form of enunciatory,
intellectual uncertainty and anxiety that stems
from the fact that disavowal is not merely a principle
of negation or elision; it is a strategy for articulating
contradictory and coeval statements of belief (2007:
188).
A Passage to India also reaches a connection to psy-

choanalysis at the very basic roots of Freud’s studies –
the female hysteria. In point of fact, Forster’s novel
presents the worst of the British rule of India in charac-
ters of Englishwomen. They are much more explicit
in expressing unfavourable opinions about the natives
than their husbands. Mrs Callendar, for instance, says:
the kindest thing one can do to a native is to let him

die . . . He can go where he likes as long as he doesn’t
come near me. They give me the creeps (Forster 1985:
48).
Mrs Turton, in turn, divulges:
they ought to crawl from here to the caves on their

hands and knees whenever an Englishwoman’s
in sight, they oughtn’t be spoken to, they ought
to be spat at, they ought to be ground into the dust
(Forster 1985: 220).
77
Fielding observes that if Englishmen would tolerate
him making friends with Indians, Englishwomen would
not (Forster 1985: 80). In Hubel’s view,
Anglo-Indian women are the novel’s scapegoats;

they bear the brunt of Forster’s anger about English
conduct in India. The Anglo-Indian men, on the oth-
er hand, are criticized but are usually accorded some
sympathy (1996: 99).
This contrast in attitude earned Forster some harsh

feminist criticism: Elaine Showalter claims “I think
we must accept the fact that Forster often saw women
as part of the enemy camp” (qtd. in Hubel 1996: 95).
But it may well be that the accurate explanation
was the one Ashis Nandy voices:
white women in India were generally more exclusive

and racist because they unconsciously saw them-
selves as the sexual competitors of Indian men,
with whom their men had established an uncons-
cious homo-eroticized bonding (qtd. in Lane 1995:
147).
The most obvious example of a woman infringing upon

the rights of an Indian person is obviously Adela’s claim
that she has been abused by Aziz. And this is exactly
where the issue of female hysteria comes to view.
In some connection to this psychoanalytic reading,
Nancy Paxton offers the interpretation of “the signific-
ance of Forster’s strategic silences about Adela’s sexual
desires” (1999: 234). Paxton sees Adela as an example
of an “uncolonized” woman, the modernist New Wom-
an newly arrived from Britain of “women’s suffrage,
78
feminism, and free love” of the 1920s” (1999: 238). Adela
thus
demonstrate[s] some of the new conflicts posed

by British women’s redefined relationship to the so-
cial and sexual contract in the 1920s (1999: 234).
Her fiancé, Ronny,
recognizes that, because Adela is a New Woman,

he cannot be certain that she will deny her sexual de-
sire or submit to the chaste monogamy expected
of colonial wives. Likewise, he cannot be sure
that she will comply with colonial taboos against
cross-racial unions (1999: 239).
In this way, Forster seems to express his concern about

the challenge posed by the Modern Woman to Anglo-
Indian colonial society. However, using the Marabar
caves scenario, the novel manages to illustrate
how the New Woman, who was relatively successful

in freeing herself from the constraints of Victorian
sex and gender roles in the period between 1890
and 1914, was recaptured in the 1920s by Freudian
psychology (Paxton 1999: 236).
Adela’s reaction after the cave incident is clearly indica-

tive of hysteria, but perhaps more interesting
is the narrative silence – the narrative disavowal –
which covers the incident itself, as well as any Adela’s
report on it. Paxton sees in this silence the enactment
of Adela’s choice:
79
either she must describe her experience according
to the rape script of colonialism’s favorite melodra-
ma or she must remain voiceless (1999: 241).
The colonial clichéd judgement is demonstrated

by Forster in “Oriental Pathology” voiced by Major
McBryde in his court statement in which he pronounces
“a general truth” that
the darker races are physically attracted by the fairer,

but not vice versa – not a matter for bitterness this,
not a matter for abuse, but just a fact which any
scientific observer will confirm (Forster 1985: 222).
Beer finds explanation for Adela’s hysterical behaviour

in the “muddled state of her mind at the crucial mo-
ment” (1962: 149). He sees her recover from hysteria
through the influence of contact with Mrs Moore,
which enables her head to make contact with her heart
again and enter the true reality (1962: 150-152).
The problem of this approach lies in the fact that, for one
thing, it focuses on Adela, the European mind again,
and that, for another, it does not truly see her as a wom-
an. A more convincing view is presented by Paxton,
who compares Forster to Freud:
Ten years later, when asked what happened to Adela

in the Marabar Caves, Forster, like Freud, insisted
that the workings of female desire remained beyond
words (1999: 234).
Paxton ventures to show how Adela’s cave nightmare

and the subsequent gaps in her memory parallel Freu-
dian conservative theory of feminine sexuality.
She observes that
80
the ‘gaps’ in Adela’s story are used to show that
the sexual repression of the modern woman discre-
dits her autonomy and reliability as a political agent
(1999: 241).
The fact that Adela resembles the New Woman

can be seen from the sexual impulses presented, though
quite implicitly, by the novel. Before entering the cave,
she displays some attraction to Aziz, thinking that
“he might attract the women of his own race and rank”
(Forster 1985: 163). At the same moment she thinks
about her marriage to Ronny, no doubt bearing in mind
the sexual aspect of it. She must remember the scene
which has previously reunited her with her fiancé
after a row, when, in a rather Lawrencean manner,
“one of the thrills so frequent in the animal kingdom
passed between them” (Forster 1985: 103). The caves
themselves, as presented in the narration, seem
to be a potent sexual symbol, in their description Forster
uses vivid imagery, referring to “lovers” or “kiss”
and “touch” of flames (1985: 138-139). Hubel spots
an interesting parallel between another modernist “co-
lonial” text: Conrad’s Heart of Darkness, in which, like
in A Passage to India,
the image of the colonized country is a construction

which participates in the mutually constitutive dis-
courses of both exoticism and eroticism (1996: 104).
However, in the case of Forster’s novel, an integral part

of this eroticism lies in the homosexual realm.
Christopher Lane observes that while Forster makes
racial difference responsible for the distance between
men and women, it does not prevent him from bringing
81
“men of different races and nationalities into closer
proximity” (1995: 146). He further claims that
interracial sexuality usually compels Forster’s cha-

racters to disavow or redefine the precise meaning
of their national and sexual identities (1995: 146).
Indeed, insofar as the two instances of the New Women

presented by the novel, Adela and Mrs Moore,
are not given erotic qualities (Aziz frequently refers
to Adela’s unattractiveness and Mrs Moore is an elderly
lady), the two most sensual characters of A Passage
to India are masculine: a punkah-wallah pulling a fan
in the courtroom and a temple servitor who during
the Hindu celebration causes Aziz’s and Fielding’s boats
to collide. Hubel discerns the homoerotic gaze
of the narrator in the description of the punkah-wallah,
seeing in the eroticised descriptions of natives the ex-
pression of Forster’s fascination with “India’s attractions
and its relationship to the West” (1996: 105-106). How-
ever, she asserts that the two seductive figures are
products of Orientalism, for both are imaged

as somehow existing outside time, in that eternal
and changeless India that the West cannot
and should not touch (1996: 107)
and thus the homoerotic aesthetics of the novel is still set

within imperialist discourse. A similar view seems
to be advocated by Parry, who asserts:
The accounts of easeful male associations to which

Fielding is admitted resonate the courtly same-sex
eroticism of the Arab-Persian-Islamic literary tradi-
tion and fulfil a fantasy of unconcealed homosexual
82
associations still forced into secrecy in Britain (2004:
172).
Lane, in turn, notices that
Forster’s difficulty in representing homosexual

and racial intimacy raises unconscious meanings
that resonate beyond his writing (1995: 146).
Indeed, this difficulty is detectable in the novel even

despite its ending, which gives some hope to the homoe-
rotic drama between two protagonists divided by some
abstract forces:
“We shall drive every blasted Englishman

into the sea, and then” – [Aziz] rode against [Field-
ing] furiously – “and then,” he concluded, half kiss-
ing him, “you and I shall be friends.”
“Why can’t we be friends now?” said [Fielding],
holding him affectionately. “It’s what I want.
It’s what you want.”
But the horses didn’t want it – they swerved apart;
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 . . . : they didn’t want it” (Forster
1985: 316).
Thus in the last scene of the novel Forster creates

a gap between the two male protagonists which
is not bridgeable, or not yet, at least. This scene, howev-
er, is not perceived by critics as climactic; what,
for instance, Beer calls “the culminating horror
of the novel” (1962: 156) is the echo of the Marabar
caves. The echo which Bhabha approaches in the follow-
ing way:
83
from those dark corners of the earth, there comes
another, more ominous silence that utters an archaic
colonial ‘otherness’, that speaks in riddles, obliterat-
ing proper names and proper places. It is a silence
that turns imperial triumphalism into the testimony
of colonial confusion and those who hear its echo
lose their historic memories (2007: 176).
Here is Forster’s description:
The echo in a Marabar cave . . . is entirely devoid

of distinction. Whatever is said, the same monoton-
ous noise replies, and quivers up and down the walls
until it is absorbed into the roof. ‘Boum’ is the sound
as far as the human alphabet can express it, or ‘bou-
oum’, or ‘ou-boum’ – utterly dull. Hope, politeness,
the blowing of a nose, the squeak of a boot, all pro-
duce ‘boum’. . . . And if several people talk at once
an overlapping howling noise begins, echoes gener-
ate echoes, and the cave is stuffed with a snake com-
posed of small snakes, which writhe independently
(158-159).
If a Marabar cave is, as Bhabha wants it, the “echo-

chamber of memory” (2007: 180), it raises echoes
that resonate not only in Adela, evoking her colonial
hysteria, but also in Mrs Moore, rupturing her proper
Christianity, the faith which was, indeed, one
of the main instruments of British colonization of India.
The primal archaic emptiness reverberates inside
Mrs Moore’s Christian soul – “in a cave, in a church –
boum, it amounts to the same” (Forster 1985: 213).
It is, indeed, unspeakable:
“[Adela:] Mrs Moore, what is this echo?” [Mrs

Moore:] “Don’t you know? . . . If you don’t know,
you don’t know; I can’t tell you” (Forster 1985: 205).
84
But its force is radically disruptive:
‘Pathos, piety, courage – they exist, but are identical,

and so is filth. Everything exists, nothing has value.’
If one had spoken vileness in that place, or quoted
lofty poetry, the comment would have been the same
– ‘ou-boum’. If one had spoken with the tongues
of angels and pleaded for all the unhappiness
and misunderstanding in the world, past, present,
and to come, for all the misery men must undergo
whatever their opinion and position, and however
they dodge or bluff – it would amount to the same,
the serpent would descend and return to the ceiling.
. . . 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 ‘boum’ (Forster 1985: 160-161).
The religion of Word is thus juxtaposed against

the archaic silence and thus, deconstructed. The Chris-
tian Word – the constitutive “Let there be light”
or the sacrificial “It is finished” – is devoured by the ga-
ping aperture of Oriental caves and grossly dismantled.
And what is offered by the echo of the Marabar caves
in return? Nonsense.
Bhabha states:
What emerges . . . is the language of a colonial non-

sense that displaces those dualities in which the co-
lonial space is traditionally divided: nature/culture,
chaos/civility. Ouboum [is] not [a] naturalized
or primitivistic [description] of colonial ‘otherness’,
[it is] the [inscription] of an uncertain colonial silence
that mocks the social performance of language
with [its] non-sense; that baffles the communicable
85
verities of culture with [its] refusal to translate (2007:
177).
As Parry divulges,
the catastrophic entry of Mrs Moore and Adela

Quested into an untranslatable sphere is inseparable
from the cultural constraints on their capacity to con-
front the otherness of meanings both immanent
in and attached to India’s material spaces and forms
(2004: 172).
This nonsense of Marabar caves is the archaic element

of India which resists translation, and as such stands
for the incommensurability of Indian culture, but also
for its defiance. For Bhabha, this “colonial non-sense . . .
is productive of powerful, if ambivalent, strategies
of cultural authority and resistance” (2007: 188).
Also a critical look upon the essence of the caves it-
self seems quite purposeful: Marabar caves are pre-
sented as a regional attraction to British “tourists”,
but, in truth, they hide nothing of particular interest
inside: no ancient inscriptions, no carvings, no ornamen-
tations, no sculptures. Beer claims that “Everything
in the novel has to be confronted by the caves” (1962:
160), also the main question for most readers of A Pas-
sage to India is “What happened in the Marabar caves?”.
But, in fact, the most basic, the most straightforward,
the most true, and the most absurd answer is: “nothing”.
Nothing happened in Marabar caves. As Monk asserts,
[t]he ‘Caves’ section of the novel is, quite literally,

about nothing. . . . an excavated cave offers
to the archaeologist, or the novelist, substantively –
nothing (1994).
86
Facing this substantial nothingness, A Passage
to India also has to face the problem of representation
and expression. Forster’s novel is, after all, written with-
in the “limits” of Eurocentric modernism, using
the fictional modes available to a western novelist,
and this is perhaps why Said asserts that the book uses
India “to represent material that according to the canons
of the novel form cannot in fact be represented”
(qtd. in Parry 2004: 162). The colonial archaic nonsense
produced by the Marabar caves is for Forster “ou-boum”
– “as far as the human alphabet can express it” (Forster
1985: 158, italics mine). Parry lucidly notes that “[c]aves
are a symptom of what the novel is unable to compre-
hend intellectually, accommodate within its preferred
sensibility or possess in its available language” (2004:
170). And even if Forster’s narrator decides to cross
the boundary of the English language and seems open
to accept non-words, he still remains within the con-
straints of the Roman alphabet, which is not the only
human alphabet available, especially not in India.
87
Bibliography
Achebe, Chinua
1997 “An Image of Africa: Racism in Conrad’s
Heart of Darkness”, in: Bart Moore-Gilbert
-- Gareth Stanton (eds.), 112-125.
Beer, John B.
1962 The Achievement of E. M. Forster. London:
Chatto & Windus.
Bhabha, Homi K.
2007 The Location of Culture. London:
Routledge.
Bloom, Harold (ed.)
1987 Modern Critical Views: E. M. Forster. New
York, New Haven, and Philadelphia:
Chelsea House.
1985 A Passage to India. Harmondsworth:
Penguin.
Hubel, Teresa
1996 Whose India? The Independence Struggle
in British and Indian Fiction and History.
Durham, NC: Duke University Press.
Lane, Christopher
1995 The Ruling Passion: British Colonial Allegory
and the Paradox of Homosexual Desire.
Durham, NC: Duke University Press.
Monk, Leland
1994 “Apropos of Nothing: Chance and Narra-
tive in Forster’s A Passage to India”, Studies
in the Novel 26 (4): 392-403.
Moore-Gilbert, Bart -- Gareth Stanton (eds.)
1997 Postcolonial Criticism. London: Longman.
88
Parry, Benita
2004 Postcolonial Studies: a Materialist Critique.
New York: Routledge.
Paxton, Nancy L.
1999 Writing under the Raj: Gender, Race,
and Rape in the British Colonial Imagination,
1830-1947. New Brunswick, NJ: Rutgers
University Press.
Suleri, Sara
1987 “The Geography of A Passage to India”,
in: Harold Bloom (ed.), 169-175.
89
E. M. Forster’s Geography of Homosexual Desire
When the geographic locations which can be found

in E. M. Forster’s fiction are put together, they chart
a map which, on the one hand, commemorates his voy-
ages during the first two decades of the 20th century.
On the other hand, however, this imaginary map
emerges as curiously close to the image of foreign coun-
tries popular among the educated and wealthy British
homosexuals at the turn of the 19th and the 20th century.
The task of the present paper is to retrace the voyages
which first took Forster to places conventionally per-
ceived as homosexual havens and then back to England
where he created a homosexual haven of his own mak-
ing.
The belief that there is a distant foreign place more
appropriate and sympathetic for gay people can
be traced back to the Ancient times when the theme
of homosexual love was introduced into the myth
of Arcadia (Woods 1998: 17-31). The belief is strongly
present also in modern gay culture, as Henning Bech
describes it:
Happiness is not now, at most in existing memory

or in yearning; and it is not found here but in another
90
country, a foreign country – [which is] a stock theme
in the homosexual experience (1997: 37).
Specific location of such a foreign country has

been changing over the years and largely depends
on local cultural traditions or fashions.7 At the turn
of the 19th and the 20th century the geography of homo-
sexual desire of the educated wealthy British concen-
trated almost exclusively on two places: Greece
and Italy. It was reflected in the terms “Greek love”
and “Italian vice” which were used as popular syno-
nyms of homosexuality.8 They came to be associated
with homosexual love primarily due to the Ancient
literary tradition the works of which, such as Platonic
dialogues, were in those times the only generally avail-
able “gay literature” (Jenkyns 1980: 282).
In the case of Italy it was also widely believed
that this country was more willing to accept or at least
tolerate homosexuality. The association had been quite
common in Great Britain for several centuries. Obvi-
ously, for the majority it was a negative association,
hence “the Italian vice”. It was one of the qualities which
constituted Italy as a morally dangerous place
7 These days middle-class Western Europeans would probably
choose Gran Canaria or the Greek island of Mykonos, while

Americans would prefer Fire Island.
8 However, this meaning of the adjective “Greek” should not
be applied to Forster’s works. “While it would certainly be simplistic

to suggest that Forster meant Greek as a code word for homosexual,
much as Dorian, Platonic, or Sapphic had become, it would
be equally misleading to attempt to explain Forster’s “Greek”
without including in the ideas of harmony, peace, nature, and so on,
the idea of an accepted and recognized place for the homosexual
relationship” (Martin 1977: 70).
91
(“the academy of crime”) along with her Catholic faith
and effeminacy.
However, there were also those who found
the popular belief rather promising and wanted to use
the opportunity. Their list includes such well-known
Victorians as John Addington Symonds, Frederick Rolfe
(Baron Corvo), and Horatio Forbes Brown who either
wrote about their erotic liaisons with Italian youths
or settled down in Italy giving grounds to the belief
that homosexual practices were possible there rather
than in other European countries (Rahman 1988: 54).9
On a more mundane level, it was important that Italy
belonged to the countries the legal system of which
had been influenced by the Napoleonic Code in the early
19th century and did not penalize homosexuality,
which in Great Britain from the latter part of Queen
Victoria’s reign to the 1960s was considered a criminal
offense.
The myth of Italy as a homosexual haven was also
strengthened by graphic arts, especially photographs
of Wilhelm von Gloeden and his followers. The subjects
of the photographs of von Gloeden and Rolfe, most often
teenage boys from Taormina or Venice, should draw
our attention to the fact that the conventional vision
of homosexuality connected with the Mediterranean
(and also the Orient) was that of ephebophilia (love
of older men for boys).
9 “For Forster, undoubtedly, Italy was the place where homophobia

was irremovable . . . but not particularly high” (Altman 1978: 538),
[Italy] “was associated in Forster’s mind with homosexuality, as [it]
was notorious since the Renaissance as the land where homosexual
pleasures could be procured” (Rahman 1988: 54).
92
It is difficult to state with any certainty to what ex-
tent Forster was aware of all that when he first visited
Italy with his mother in 1902. It is certain, however,
that his early works such as the two novels: Where Angels
Fear to Tread (1905) and A Room with a View (1908)
are characterized by the extensive usage of foreign set-
tings. The actual setting of his early fiction is not limited
to Italy but, especially in the short stories, includes
also Greece. The importance of Greece in these works
is almost equal to that of Italy and the two influences
tend to mingle for example in such works as the short
story “Albergo Empedocle”, the action of which
takes place in Grigenti, a Greek colony in Italy,
and in “The Story of a Panic”, where English tourists
encounter the Greek god Pan in the North of Italy.
To be more precise then, one might say that the two
locales tend sometimes to be perceived as one.
I am by no means the first to attempt to discuss
the issue. Peter J. Hutchings sees it in an extremely sim-
ple way, claiming that
Forster’s sexual geography [is as follows]: Italy,

for heterosexual romance, Greece for homosexual
love, Constantinople as a gateway to polymorphous
perversity (1995: 224).
I find the matter, however, somewhat more complicated.

Hutchings seems both misled by the final draft
of A Room with a View and not curious enough to read
closely Where Angels Fear to Tread, not to mention the fact
that Constantinople plays an extremely minor role
in Forster’s fiction, only as the aim of the voyage
of the Misses Alan in A Room with a View. Hutchings
93
seems to have mistaken here Forster for Gustave
Flaubert, Pierre Loti or, which may be the most probable,
for Evelyn Waugh and his Brideshead Revisited.
Robert K. Martin more precisely describes Forster’s
usage of the Mediterranean settings as follows:
Throughout most of his stories, Forster opposes

a Greek world to a more modern, English world,
or in some cases, an Italian, Mediterranean world
to a northern, Anglo-Saxon world. His use of the Ital-
ian theme is almost identical to that of Henry James,
who consistently opposed the sensuality and moral
complexity of Italy to the materialism and moral
simplicity of England (Martin 1977: 70).
The first source of Forster’s interest in the Mediter-

ranean was his preoccupation with the Antiquity
which started already in secondary school
and was strengthened during his stay at Cambridge
and studies in history and Classics (Furbank 1979, 1:
44-80). The influence of such people as Goldsworthy
Lowes Dickinson or Walter Pater combined with very
wide reading both in the classics and contemporary
studies in Ancient culture.10 The voyages to the Mediter-
ranean, which Forster began upon his graduation in 1902
and was to continue until the 1950s, only further
strengthened this interest.
Still it would be limiting to point out his interest
in Classic literary tradition and travels as the only
sources of the use of such settings. It would be just
as wrong to present these interests as of exclusively
personal origin. The latter half of the 19th century
10 See for example Forster’s reading list from 1899 in Furbank 1979, 1:
70.
94
was a period of increased preoccupation with the Antiq-
uity especially in Great Britain. Victorian culture as-
cribed to the region new meanings which fit the needs
of the emerging empire. Perception of Greece and Rome
was greatly influenced by the famous distinction be-
tween “hebraism” and “hellenism” formed by Matthew
Arnold, who
did not condemn the Victorian cultivation of the pri-

vate conscience, which he called ‘hebraism’ (in allu-
sion to the Old Testament Hebrews) and he defined
as ‘strictness of conscience’ but he thought it needed
supplementing. The culture with which he wished to
supplement hebraism he called ‘hellenism’ in allu-
sion to the ancient Greeks and defined as ‘spontane-
ity of consciousness’ (Gillie 1983: 57).
Forster initially follows Arnold in his works though

he treats his concepts only as a point of departure
(cf. Ross 1980). He was further influenced by the works
of Symonds and Lowes Dickinson, who developed
this distinction so that it meant not only freedom
of the soul as opposed to moral rigidity, but also sexual
freedom as opposed to the rigid patriarchalism and hete-
rosexuality associated with hebraism (Martin 1977: 70).
Mediterranean culture becomes in Forster’s fiction
“the stimulus to the physical, instinctive self” (Adams
1980: 113) yet at the same time any attempts at revealing
one’s true identity are perceived and presented as poten-
tially dangerous. The curate from the short story
“The Curate’s Friend” is a perfect example of this atti-
tude, as speaking of his friendship with a faun,
which may be read as a veiled presentation of homo-
sexuality, he says:
95
if I breathed one word of that, my present life,
so agreeable and profitable, would come to an end,
my congregation would depart, and so should I,
and instead of being an asset to my parish, I might
find myself an expense to the nation (Forster 1997:
74).
Especially in the earliest works the influence

is far from exclusively beneficial and
one easily recognizes a pattern common in Forster’s

early fiction: a symbolic journey to Italy or Greece,
the realization of an identity with the Greek spirit,
and a sudden transformation, into madness or death
(Martin 1982: 102).
This is what happens to the hero of the short story

“Albergo Empedocle” who discovers his “affinity”
with an ancient Greek in Akragas (Agrigento)
and as a madman is sent to a lunatic asylum. Achieving
awareness of one’s own homosexuality through
the influence of a foreign setting is thus presented
as madness, clearly reflecting Forster’s own attitude
to his situation in the period. Yet the rejection
of the spirit can be equally devastating as its acceptance.
It is so in the case of Mr Lucas in “The Road
from Colonus”,11 who is “saved” by his daughter
from accepting the ancient influence only to survive
as a living dead.
The influence is far less dangerous when felt outside
Greece itself as it occurs in “The Story of a Panic”
(though in this case the ending is left open) and in
11However, this short story does not allude to homosexuality

in any way.
96
“The Curate’s Friend” quoted above. In both stories
the Greek half-gods (Pan and a faun) appear without
their element and exercise a more beneficial influence.
The Greece of Forster’s early works was rather
a variation on the ideal Arnoldian Greece than the actual
country, of which he had at the time extremely limited
experience. Judith Scherer Hertz goes as far as to claim
that
the very earliest of the strategies Forster developed

to contain his sexual energy was the creation
of a fantasy landscape. Often in Greece, sometimes
in Italy, or even in an England inhabited by the semi-
divinities, it is the place where one encounters
one’s true nature, where one is allowed one’s real
sexual identity, not the one so incongruously pro-
vided by the Peaslakes, the Tytlers and the Worters
(1978: 255).
This view is not accepted generally and Forster’s presen-

tation of the Mediterranean is elsewhere (e.g. Michoń-
ska-Stadnik 1980: 428-429) praised for realism and lack
of idealisation. One has to agree, however, that Greece
itself plays a secondary role in Forster’s fiction.
It has decidedly meant very much to him yet
in his early work . . . it is an ideal to be approached

with awe and reverence. Possibly too much awe
and reverence is shown; for it is contemporary Italy
rather than ancient or modern Greece that provides
Forster, in his early novels, with the world to be op-
posed to his contemporary English scene (Warner
1954: 8).
97
An explanation for that attitude may be found
in A Room with a View, where the reverend Beebe con-
fesses:
I haven’t been to Greece myself, and don’t mean

to go, and I can’t imagine any of my friends going.
It is altogether too big for our little lot. Don’t you
think so? Italy is just about as much as we can man-
age. Italy is heroic, but Greece is godlike or devilish –
I am not sure which, and in either case absolutely
out of our suburban focus (Forster 1977: 177).
These conclusions may be partially Forster’s own,

as rather quickly he concentrated on Italy as a more
appropriate setting of his fiction. In this respect he be-
longs again to an established
Romantic tradition of embracing Italy as the home

of brilliance and passion, of emergence from the Eng-
lish fog and snobbery. Like Shelley and Browning,
Forster finds Italy rich in moral and emotional ex-
tremes that make the stuff of melodrama (Crews
1962: 71).
Yet just as it was in the previously presented cases,

Forster immediately departs from a tradition only to use
it in his own way. Although his Italy may, indeed,
be perceived as the Italy of the Grand Tour, of Shelley
and of Pater, it has, nevertheless, certain special features.
Italy is seen as a land of spontaneity; its social tradi-

tions and moral restraints are either ignored alto-
gether, or else shown as wonderfully and inexplica-
bly encouraging the free play of impulse. In Italy
what you ought to do, and what you are expected
98
to do, and what you do mysteriously tends to be one
and the same thing (Cockshut 1978: 173).
Italy becomes thus for Forster a place for a
rebellion against middle-class conformity and

the possibility of escape – often literally and usually
to Italy (Altman 1978: 537-538),12
where such a rebellion seems quite acceptable. A place

where lovers who offended the system can find at least
temporary refuge, as it is A Room with a View. It is quite
telling that if anyone stands in the way of lovers
(cf. Forster 1977: 69-79), it is always the English,
not the Italians. Naturally, in the published texts Forster
writes only about straight lovers.
Apart from the Classical tradition the choice of Italy
as the ideal refuge was also influenced by Forster’s
perception of Italian society marked with masculine
domination “free from feminine criticism” (Wilde 1973:
295), which makes the country an ideal of Forster’s
vision of homosexuality even though he is ready
to recognise that it happens at the expense of women.
Italy is such a delightful place to live in if you hap-

pen to be a man. There one may enjoy that exquisite
luxury of Socialism – that true Socialism which
is based not on equality of income or character,
but on the equality of manners. In the democracy
of the caffe or the street the great question of our life
has been solved, and the brotherhood of man is a re-
ality (Forster 1975: 35-36).
The issue of escape or self-imposed exile in E. M. Forster’s fiction

12
was presented in Fordoński 2003.
99
Quite obviously, though the choice of place just
as that of references in the text (e.g. repeated allusions
to Michelangelo or poems of A. E. Housman) may lead
a queer oriented critic to notice that Forster’s foreign
settings are homoerotically charged, it is more a matter
of allusion or unspoken mood than of anything that can
be specifically pointed out. The fact is that as the surviv-
ing manuscripts prove Forster consciously removed
from the texts submitted for publication anything
that might have suggested homosexuality or homoeroti-
cism.
Yet even so, in Where Angels Fear to Tread we can
find this surprising description of an encounter
of the main hero Philip Herriton with a group of young
Italian gentlemen in the Monteriano opera, during which
Philip would have a spasm of horror at the muddle

he had made. But the spasm would pass, and again
he would be enchanted by the kind, cheerful voices,
the laughter that was never vapid, and the light ca-
ress of the arm across his back (Forster 1975: 97).
More recent analyses of the novel, such as that of Nicho-

las Royle published in 1999, attempt to prove that
a queer subtext is much more prominent in the two
novels that it might seem at the first glance:
Forster’s novel mixes the crude and ambiguous;

it plays with the sexual suggestiveness of language,
with innuendo and double meaning. [Two] brief ex-
amples: in Forster’s novel a ‘knowing person’ does
not enter the back door of the house but rather
‘take[s] the edifice in the rear’, at the opera Philip
finds ‘amiable youths bent . . . and invited him to en-
ter’ (Royle 1999: 9-10).
100
Even if it is disputable whether we should uncondition-
ally accept at face value Royle’s statement that “a queer
reading of Where Angels Fear to Tread is absolutely neces-
sary” (1999: 11), yet it surely offers a new approach
to the text.
Such a reading is of little value in the case of A Room
with a View and even Royle agrees that “the novel’s
‘queer emanations’ are only of limited force and value”
(1999: 41). This, however, becomes more comprehensible
when we realise that the published text is the third ver-
sion of the novel. The two early drafts survived at least
in part and a comparison is possible that explains
the direction which Forster’s self-censorship13 took
to make the novel the heterosexual romance it is now.
The most striking change applied to the first crucial
event in the novel, the murder in the Piazza Signoria
in the “Fourth Chapter”:
[In Old Lucy] the most significant incident, “a catas-

trophe,” is the death of a young Italian in the Piazza
Signoria, an incident similar to the murder which
brings Lucy and George Emerson together in A Room
with a View. But in the early draft, Lucy is not pre-
sent. Narrated from Arthur’s [in later versions:
George’s] point of view, the episode consists largely
of a lurid and erotic description of the dying “naked
youth”. The sight of “the young Italian’s perfect form
lying on the fountain brim” (Old Lucy 37) causes Ar-
thur to renounce art in favour of life, as he tells Lucy
“to promote human intercourse and bring about
the brotherhood of Man” (Old Lucy 47). Forster
13Forster’s own attitude to it is best summed up in a sentence

from his 1958 appendix to the novel entitled ‘A View without
a Room’ – “It is not my preferred novel – The Longest Journey is that –
but it may fairly be called the nicest” (Forster 1977: 210).
101
did not include this piece of adolescent homosexual-
ity in the finished novel; by 1903 in New Lucy
his story became a heterosexual romance (Rosen-
crance 1982: 87).
Similar changes made in the early drafts brought

about a text in which most of the more direct representa-
tions of homoerotic atmosphere are all but gone.
The changes, however, did not touch such basically
homosexual characters as Cecil Vyse “the ideal bache-
lor” of “the sort who can’t know any one intimately”
(Forster 1977: 171) and the Reverend Beebe who
was, from rather profound reasons, somewhat chilly

in his attitude towards the other sex, and preferred
to be interested rather than enthralled (Forster 1977:
32).
The Italian novels were actually quite successful,

sufficiently so as to have a number of successors such
as Norman Douglas’s South Wind (1917), Huxley’s Those
Barren Leaves (1923), and Elisabeth Bowen’s The Hotel
(1927), which followed his descriptions of Italy
“as a liberating force on Anglo-Saxon temperaments”
(Cavaliero 1979: 63).14 Yet the author himself was decid-
edly not satisfied with the direction his work took
and the way censored homoerotic foreign settings
were presented in his novels. The year 1908
with the publication of A Room with a View marked
a temporary departure from the Mediterranean themes
in his fiction.
14 In a somewhat different way A Room with a View was also
the inspiration behind Virginia Woolf’s debut The Voyage Out (1915).
102
The next stage of Forster’s voyage in search
for a homosexual haven took him to the Orient, India
and Egypt, unsurprisingly, as according to Edward
Said15 it was
the place where one could look for sexual experience

unobtainable in Europe. Virtually no European wri-
ter who wrote on or travelled to the Orient in the pe-
riod after 1800 exempted himself or herself from
this quest (1991 : 190).
Forster’s first voyages there were no exception.

They were voyages of discovery in a number of ways –
not only cultural or literary but also physical and per-
sonal. It was in Alexandria that he found his first sexual
experience and then fulfilment in love. India, although
only when Forster visited it again in the early 1920s,
also gave him a chance to have sex as freely as never
before.
These experiences, however, came quite late
in Forster’s creative life, or, as Wendy Moffat seems
to suggest in her recent biography, they put an end
to his creative life as a writer. Consequently, the number
of works which refer to them is quite limited. Just
as was the case of the Mediterranean themes, the offi-
cially published works such as A Passage to India
or The Hill of Devi allude to homosexuality in most
oblique ways. According to Parminder Kaur Bakshi,
in the former novel
15An analysis of A Passage to India in the context of Said’s

studies can be found in Bakshi 1996: 207-234.
103
ironically, while Forster endeavoured to use the ra-
cial and political prohibitions of the friendship
of Fielding and Aziz to signify the wider oppression
of homosexual love, the political issues of the time
proved to be so powerful that they completely sub-
sumed homoerotic desire in the text (1996: 208).
Much more direct depictions of the erotic aspect

of the Orient can be found in his posthumously pub-
lished works, of which the most accomplished is cer-
tainly the short story “The Other Boat” and the most
direct an autobiographical fragment “Kanaya” (Forster
1983: 310-324), first published from the manuscript
in the critical edition of The Hill of Devi.
Forster returned to the Mediterranean settings tem-
porarily in 1913 when he started to write his only overtly
homosexual novel Maurice, which he was to go on cor-
recting for another forty years. The beginning
of the novel offers a direct presentation of the influence
of Classical Greek culture upon the heroes – students
of Cambridge Maurice and Clive. Borrowing and dis-
cussing Plato’s Symposium become the first signs
of their affection (cf. Dowling 1994). The reader
is to a point led to believe that the heroes follow
the rules set by the Victorian understanding of homo-
sexuality. The impression is the stronger as there
was still some degree of acceptance for homosexual
behaviour in the academic setting, although not quite
as much when the behaviour was discussed in public,
as the controversy over Alec Waugh’s The Loom of Youth
was soon to prove (Byrne 2010: 18-20). All such expecta-
tions, however, are soon proven wrong.
As his relationship with Clive drags on Maurice
grows more and more disillusioned with Greece,
104
“a heap of old stones without any paint on it” (Forster
1999: 92), just as he is more and more frustrated
with his sexless relationship. Clive, who finally goes
to Greece alone, “Against [his] will . . . become[s] nor-
mal” (Forster 1999: 97). Greece is no longer a storehouse
of art but simply a reminder of last things, with its cul-
ture dead, and thus an appropriate place for Clive
to ‘become normal’. It is thus relegated to museums,
which is symbolically done in Chapter XLIII
of the novel. Greek antiquities remain in the British
Museum where they belong while Maurice and Alec
go to “a place” to spend the night together. In further
chapters it is the English “greenwood” that takes
the place of Greece as the idyllic location where gay
lovers can find refuge. This change quite naturally fol-
lowed a change in Forster’s interests and his choice
of English settings so visible in The Longest Journey
and Howards End.
According to Martin’s probably most influential es-
say “Edward Carpenter and the Double Structure
of Maurice,” this change marks Forster’s rejection
of the Victorian (one might call it “Platonic”) vision
of homosexuality in favour of a more modern one pro-
fessed by Edward Carpenter. A similar opinion
was voiced almost contemporaneously by Tariq Rahman
in his article “Maurice and The Longest Journey: A Study
of E. M. Forster’s Deviation from the Representation
of Male Homosexuality in Literature,” in which he ar-
gues that Maurice is a groundbreaking novel, the first
to move from describing ephebophilia (love of boys)
or erotic friendship between men towards androphilia
(love of men) (1988: 74).
105
Forster both in his life and his works started
from re-charting the map of homosexual destinations
of the previous generations. His life and his works,
however, belonged to another generation and he had
to find a new path both for his life and for his writing,
create a new geography of homosexual desire for him-
self. This process of defining himself and his works led
him to a surprising discovery both in his personal life
and in his writing – that if one is ready to accept
the price, the place where homosexuality is possible,
the place which he sought far away, can exist here
and now as it happened for the heroes of Maurice
and Forster himself in his uneasy and unconventional
relationship with Bob Buckingham.
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1980 “Only Connect: E. M. Forster and
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Contemporary Fiction. London: Vision
Press: 106-130.
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1978 “The Homosexual Vision of E. M. For-
ster.” Meanjin 37: 532-540.
Bakshi, Parmider Kaur
1996 Distant Desire. Homoerotic Codes and
the Subversion of the English Novel in E. M.
Forster’s Fiction. New York: Peter Lang.
Bech, Henning
1997 When Men Meet. Homosexuality and
Modernity. Cambridge: Polity Press.
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Byrne, Paula
2010 Mad World. Evelyn Waugh and the Secrets
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Cavaliero, Glen
1979 A Reading of E. M. Forster. London &
Basingstoke: Macmillan.
Cockshut, A. O. J.
1978 “The Male Homosexual: Forster.” Man
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Dowling, Linda
1994 Hellenism and Homosexuality in Victorian
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2003 “Self-imposed Exile as a Happy Ending.
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2010 E. M. Forster. A New Life. London:
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1988 “A Study of the Under-plot in
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Tambling, Jeremy (ed.)
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Wilde, Alan
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110
Piotr Urbański
University of Szczecin
“The love that passes understanding has come to me”:

Remarks on Staging Billy Budd
(1)
In Allan Hollinghurst’s novel The Swimming Pool Library

(1988, where the plot takes place a couple of years ear-
lier, in 1983) William Beckwith – the protagonist
and narrator – and his friend James Brook visit Covent
Garden Opera run by William’s grandfather, where
they watch the performance of Billy Budd: “It’s a funny
old production, but there’s something quite touching
about that” (Hollinghurst 1998: 120). This outstanding
production has scarcely altered since its opening in 1951
(the other, already canonical two-act version, was per-
formed thirteen years later, in 1964). Will remarks:
It was Billy Budd, an opera I recalled as a gauche,

almost amateur affair, and I had not in the least ex-
pected to enjoy it; and yet, when captain Vere’s
monologue ended and the scene on board the In-
domitable opened up, with the men holy-stoning
the deck and singing their oppressed, surging cho-
rus, I was covered in goose-flesh. When Bill, press-
ganged from his old ship, sang his farewell
to his former life and comrades – ‘Farewell, old
Rights o’ Man, farewell’ – the tears streamed down
my face. The young baritone, singing with
the greatest beauty and freshness, brought an ex-
111
traordinary quality of resisted pathos to Billy;
in the stammering music physiognomy, handsome
and forthright and yet with a curious fleshy debil-
ity about the mouth, made me believe it as his own
tragedy (Hollinghurst 1998: 119).
Unquestionably, the way the narrator refers

to the opera resonates with passages from Forster’s
Where Angels Fear to Tread, as well as the way its charac-
ters watch and experience Lucia di Lammermoore:
the opera watching becomes (merely?) an excuse
for describing social affairs (cf. Fordoński 2010: 456-461).
The scene related by Hollinghurst along with following
conversations becomes crucial for the reader for other
reasons. First and foremost, Billy Budd is employed
in the novel as a symbol of gay culture, an opera moti-
vated by unequivocal homosocial and homoerotic as-
pects, on which the present author will elaborate below.
It must be observed that Peter Pears, Britten’s part-
ner and the first performer of tenor parts in the latter’s
works, including that of Captain Vere, was sitting
in the audience unnoticed by spectators. Secondly,
the main character’s grandfather, who witnessed
the opera’s opening, informs about Forster’s peculiar
reaction to Britten’s music and the novelist’s statement
expressed during a long conversation at the opening-
night reception. Importantly, the very statement cannot
be conceived as merely fictional, as it is based
on the facts recorded in documents, namely in Forster’s
letters as well as a radio broadcast he participated in:
He seemed satisfied with it, but there was something

distinctly contrary about him. I was quite surprised
when he openly criticized some of music. Claggart’s
112
monologue in particular he thought was wrong.
He wanted it to be much more . . . open, and sexy,
as Willy puts it. I think soggy was the word he used
to describe Britten’s music for it (Hollinhgurst 1998:
121).
The word “soggy” was used by Forster indeed.

In a letter to Britten – before the premiere – he com-
plained about the music in Claggart’s monologue:
Returning to it, I want passion – love constricted,

perverted, poisoned, but nevertheless flowing down
its agonising channel; a sexual discharge gone evil.
Not soggy depression or growling remorse (qt. after
Frantzen 2007: 63).
(2)
For the sake of order some facts and interpretative issues

related to Britten’s Billy Budd need to be reminded.
The libretto was based on Herman Melville’s short story
Billy Budd, Sailor (An Inside Narrative), which was se-
lected for stage adaptation by Forster himself (Law 1985:
297). On account of his lack of experience in stage pro-
duction did the latter ask for assistance Eric Crozier,
the author of the libretto to Britten’s Albert Herring
and The Little Sweep. The libretto was being composed
in the late forties, ordered by the Arts Council of Great
Britain for the Festival of Britain planned for 1951.
The premiere of the four-act opera took place
on the 1st of December 1951, to become later transformed
by the composer and presented in two-act version
on the 9th of January 1964.
The action of the opera takes place in the summer
of 1797 on the board of HMS Indomitable as well
113
as in its Captain’s Edward Fairfax Vere’s consciousness,
who – already quite aged – recounts some events
that he either witnessed or attended. Afterwards,
there come press-ganged navy conscripts, among whom
Billy Budd the “able seaman” – the only one who appre-
ciates the new circumstances. He gladly abandons
the merchant ship, where he hitherto has served.
No room for summarizing the plot at this point;
yet it needs to be noted that Master-at-Arms John Clag-
gart groundlessly accuses Budd of mutiny, so that he –
struck by Billy – dies, and Captain Vere has no other
choice – as typical of a martial law trial – but to sentence
the seaman to death by hanging.
Soon after the opening, Britten’s opera was regarded
by Andrew Porter as unrealistic, poetic, smacking
of fairy tale. The critic also noticed that the librettists
rendered – secondary in Melville’s account – Vere–Budd
relation the focal point of the work, considerably ag-
grandizing the Captain’s role and making him both
the main character and narrator. By the same token,
Claggart has been reduced “to those of actors who bring
about Vere’s tragedy”. Furthermore, the fact that
the threat of mutiny on board was real was also disre-
garded and unconvincingly rendered (Porter 1952:
111-113). Accordingly, Vere’s role differs in the story
and opera: he does not die of wounds straight
after Budd’s death, but survives to expire at an old age;
becomes the narrator; remains silent during the trial.
Vere’s salvation by Budd as well as transcending sexual-
ity are also novelty (Law 1985: 297, 300; Hindley 1994:
106-107). Interestingly enough, Forster’s statements
proved he never fully realized such a manifest overdo-
ing of Vere’s role, and that he was convinced
114
that the eponymous hero was still to remain the pro-
tagonist, which strikes as perplexing, since this fact
had been noticed no later than after the first staging.
Billy Budd, Melville’s protagonist, lives in a world
wherein officers expected of their subordinates more
than only due salutes. He is described as an embodiment
of innocence, irrespective of physical virginity. Claggart,
however, is an epitome of evil; he evokes the frustration
of desire (Austen 1974: 353, 355). Moreover, the antiwar,
pacifist dimension of the work is underscored,
which classifies it thus as – like Melville’s text – an ethi-
cal treatise. Finally, attention needs to be paid to miscel-
laneous allegorical interpretations of Billy Budd (Berthoff
1960: 337).
(3)
Nevertheless, the most crucial facet here is the interrela-

tion between the texts of Melville’s short story, the opera
libretto as well as its staging, which will be represented
here by two stage productions of Billy Budd released
on DVD, making a summary of the proposed interpreta-
tive traditions. The first of them is a studio production
of BBC, recorded in September 1966 and staged
for the first time on the 11th of December 1966. It was di-
rected by Basil Coleman, who prepared the premieres
for both versions. In the recording Captain Vere’s part
is sung by Peter Pears, Billy’s – Peter Glossop, John
Claggart’s – Michael Langdon, Charles Mackerras con-
ducts (Ambrosian Opera Chorus, London Symphony
Orchestra) (DVD release date: 2008). The other produc-
tion was recorded in 1988, directed by Tim Albery,
David Atherton conducts (English National Opera Cho-
115
rus, English National Opera Orchestra). The main per-
formers are Philips Langridge (Vere), Thomas Allen
(Billy), and Richard van Allan (Claggart) (DVD release
date: 2004).
Coleman’s production emerged in collaboration
with Britten himself and best summarizes the staging
tradition of Covent Garden, creatively developing
the earlier experiences. Britten himself valued this pro-
duction immensely. It was also widely said that Billy
Budd was very much a film opera, working better
as a film than performed on stage (cf. Graham 1979: 53).
It is a hyperrealist and historical production. The condi-
tions of warships from the latter part of the 18th century
(based on Nelson’s HMS Victory) were faithfully ren-
dered in terms of stage design, costumes, drills,
and procedures. The spectator gains an impression
of full illusion, in the vein of historical film genre,
which is related to the accepted notion of camera tech-
nique:
His [Coleman’s] camera technique is used not only

to progress the narrative but also to develop charac-
terisation in way quite impossible in the theater.
For example, he emphasizes many of the opera’s key
events by use of abrupt cutting from one camera
to another, and Claggart is often shown from a low-
angle shot that serves to emphasise his authority
and threatening demeanour on board the ship.
Through his camerawork, Coleman also reveals lay-
ers of the complex triangular relationship between
Budd, Vere and Claggart which lies at the work’s
core. At the moment of Billy’s hanging, for example,
we see Vere (for the only time) also shot from below
(Reed 2008: 8).
116
In addition, a peculiar sense of antitheatricality
of this opera film is of much interest here (as this
is possibly the best classification of the work),
which cannot come to fruition only through the mono-
logues – full of stage gestures characteristic of opera
singers (Vere, Claggart) – retarding the dynamics
of the plot.
Evidently, it is a performance that might have been
seen by the characters of The Swimming Pool Library.
A record of conversation between Basil Coleman
and John Piper testifies to an engagement in the forma-
tion of the stage production (1951: 13-14 and 21-25).
An aspiration towards realism, even to historicism,
can be inferred from the conversation, that is the recon-
struction of the minute bits of the fictional world de-
picted according to the characteristics of the period.
The crew members’ outfits serving various purposes
ought to be as authentic as possible. In fact, as it was
in the case of the seamen: “[t]here was no official Naval
uniform for the men until 1830s” (Coleman 1979: 35),
yet gunners already wore blue uniforms in line
with iconographic productions of the period. The num-
ber of seamen in different parts of the ship must be com-
patible with the contemporary reality, Britten’s expecta-
tions and vocal potential of a particular ensemble.
For the producers the realism of the battle scene
was particularly vital; they were pondering upon differ-
ent ways of presenting the mist, crucial for the symbol-
ism of the work (Vere remarks that it was blown straight
after Claggart had been killed). In the same way,
in Coleman’s view the very fact that the events take
place in Vere’s consciousness – whose story constitutes
a compositional framework – was of high importance
117
(namely old Vere in the prologue and epilogue,
who returns to the events from 1797). It must be admit-
ted that years later Coleman stated that what he had
meant after all was to avoid excessive realism, aban-
doned on account of the subject of the opera (1979: 35).
The subject was formulated as a universal issue:
that is good-evil dichotomy, as well as the problem
of our strength or weakness in the face of a dilemma.
In the invoked interview Coleman dedicated much
room to the scene of Claggart’s first appearance, crucial
for the commencement of the opera tragedy:
For me one of the most arresting moments is the ar-

rival of Claggart. I feel he should tower above
the whole scene, as if he had been pacing the Main
Deck above. I would like him to be at the top
of the companion-way or stairs, with Squeak lying
at the foot of them where Billy has thrown him.
Also, I want to be able to isolate Claggart from
the rest of the scene for his Monologue and scene
with the Novice that follows. Can you make
this companion-way prominent enough for Claggart
to be able to play below and around it – a sort of den
where he can entice the Novice, and where the Nov-
ice in turn can bring Billy? But from the arrival
of Claggart the tragedy really begins. It must be
an arresting moment (Coleman -- Piper 1951: 24).
To remind, certain words used in the scene will be ques-

tioned further – that is the Claggart’s assessment
of the mustered Billy: “A find in a thousand, your hon-
our. A beauty. A jewel. The pearl of great price” (Britten
1979: 186).
The discussed method of staging is corroborated
by Piper in his account for Designed for Britten (Piper
118
1979: 6), where he informs about the necessity of recon-
structing historical realities in a most realistic manner.
The other staging pertinent to this scrutiny is fundamen-
tal mainly on account of Thomas Allen’s participation,
who played Billy in several operas, developing thus
a tradition of the character’s interpretation. Hence,
the spectator is aware of the theatricality of the stage
production, which is underscored by the conventionality
and symbolism of many realities and situations.
For instance, in the prologue (Vere: “I am an old man
who has experienced much”, Britten 1979: 183) books
arranged on proscenium can be spotted – as distinctive
items of Captain Vere’s, who manages to draw parallels
between Greek and Roman history and events taking
place in his times – which are soon to serve as tools
for washing the board.
Furthermore, the composition framework, which
is determined by the old Captain’s appearance
in the prologue and epilogue (attired in a dustcoat
and a suit most certainly from the 1950s or 1960s), relat-
ing events taking place in the summer of 1797, is being
extended due to the fact that Vere appears on prosce-
nium also at the beginning of act II, as well as scene 3
of act III (after Budd being sentenced to death)
and hence becomes not only the narrator, but also
the witness of the course of events: he lurches, sits
in the chair, and in the interlude remains alone
on the empty stage; he is also present after Claggart’s
death: the old Captain’s image, cheerfully waving
from Billy’s mast as well as deceased Master-at-Arms
overlap in the backdrop of the interlude.
Finally, having heard Budd’s remark uttered
straight after the pronouncement of the sentence: “Starry
119
Vere, God bless you!” (Britten 1979: 205), Vere leaps
out of the chair, covers the ears; becomes challenged
by a bunch of dangerous seamen, as well as by Dan-
sker’s gaze. Since the sentence is announced, a young
Captain of 1797 has gone and become replaced
by a narrator, which indubitably is to underscore
a subjective nature of the recounted occurrences
by himself.
Moreover, a huge, artificial, unrealistic, muster book
carried on the boys’ backs attracts much attention,
as it allegorizes violence and humiliation dominant
on board. The production accurately utilizes the conven-
tion of singing to the audience from the front stage.
Also the prologue and epilogue have been incorporated
in proscenium, without arranging a space for the interior
of Vere’s house.
(4)
The researchers of Britten’s opera have described

in detail the connections between Forster and Crozier’s
libretto and Melville’s short story, with the latter being
the subject of their adaptation. It can be inferred, how-
ever, that the spectator may consider Melville’s text
as a point of reference, a context for what has been seen
in the performance, especially when it comes to con-
structing the characters and their mutual interrelations.
The context is all the more essential, since stage direc-
tions do not hold much information concerning not only
the stage movement, but also the characters’ age
and appearance. The reference to memory of the novella
enables one to complete the indefinite spots left over
by the opera; to substantiate their purpose, as well
120
as their past, which has an enormous influence
on the sequence of the events in the opera.
It is also interesting to inquire about the adequacy
of the characters’ representation – shaped by the theatre
tradition – with respect to Melville’s imagination, as well
as to judge whether and to what extent the additional
knowledge can either change or intensify the interpreta-
tion of both the opera and its production. Forster
was unquestionably aware of all this, hence the charac-
ters’ peculiar transparency which emerges from
the writer’s libretto (to say it again: it is devoid of any
information pertaining to the protagonists’ age or ap-
pearance) was bound up with the allusive language
of the work, which could not manifest the characters’
sexuality directly (homosexual acts were illegal
and penalized in England well until 1969, and the cen-
sorship would not permit homoerotic aspects in arts).
As it has already been mentioned, Billy Budd has become
one of the icons of gay culture just because of its emo-
tional triangle between the characters: Billy, Vere
and Claggart. Nevertheless – intriguingly – both produc-
tions appear to deliberately question the details found
in the short story.
This is clearly discernible in the formation of Mas-
ter-at-Arms John Claggart’s persona. Melville informs
his readers about the protagonist’s concealed mystery
(as Vere has it: “it is ‘a mystery of iniquity,’ a matter
for psychologic theologians to discuss”, Melville 1998:
359), vague circumstances, as a result of which a high-
born man has become an ordinary seaman, compelled
to resume his biography from scratch.
The narrator’s description of the character follows:
121
Claggart was a man about five and thirty, somewhat
spare and tall, yet of no ill figure upon the whole.
His hand was too small and shapely to have been ac-
customed to hard toil. The face was a notable one;
the features all except the chin cleanly cut as those
on a Greek medallion; yet the chin, beardless as Te-
cumseh’s, had something of strange protuberant
heaviness in its make that recalled the prints
of the Rev. Dr. Titus Oates, the historic deponent
with the clerical drawl in the time of Charles II
and the fraud of the alleged Popish Plot. It served
Claggart in his office that his eye could cast a tutor-
ing glance. His brow was of the sort phrenologically
associated with more than average intellect; silken jet
curls partly clustering over it, making a foil
to the pallor below, a pallor tinged with a faint shade
of amber akin to the hue of time-tinted marbles
of old (Melville 1998: 313).
Melville’s text hints at some sexual relations which push

Claggart out of the margin of the society, coercing him
to reconstruct his life anew, which renders the character
a cultural Other, thus partially justifying his conduct.
He is depicted as a thirty-five year-old, tall, slender,
high-minded man in his prime, whose physique is in-
dicative of a mental flaw and ominous past. It has been
indicated that Claggart’s portrayal resembles the de-
scription of emperor Trajan’s bust, provided by Melville
in his diary in 1857: “a look of sickly evil – intellect with-
out manliness and sadness without goodness” (Hender-
son 1964: 31). The very controversial ancient parallel
does not appear as unsubstantiated, seeing as Trajan
was deemed by historians an excellent emperor (Edward
Gibbon popularized the notion of the Five Good Emper-
ors, of which Trajan was the second). Hence Claggart’s
appearance would undeniably contradict a common
122
opinion, affirmed by a Polish monographer of Britten,
among others, that he is an embodiment of evil – “physi-
cally and morally repulsive” (Tuchowski 1994: 155).
In both productions Claggart is much older, roughly
fifty or sixty-year-old. He also falls short of the physical
features presented in the invoked passage. Michael
Langdon is a portly man with large hands and chubby
face, and the way camera is positioned renders every
grimace of his plebeian face repulsive to the spectator.
Alternatively, in Albery’s staging Richard van Allan
is tall, grey-haired, dressed in black, austere, demonic
yet aristocratic, almost statuesque, distancing himself
from the world he has been forced into, and from Cap-
tain Vere. He becomes the main and dominating hero
of the performance and his monologue in scene 3 act I
(“O beauty, o handsomeness, goodness!”, Britten 1979:
191) – constituting a parallel of the prologue – is argua-
bly the most poignant scene of the opera, wherein
the ensuing passage absent in the original text is articu-
lated:
With hate and envy I’m stronger than love. . . .

I, John Claggart, Master-at-Arms upon the Indomita-
ble, have you in my power, and I will destroy you
(Britten 1979: 191).
Correspondingly, Billy has very little in common

with the young man described by Melville in terms
of physical appearance:
He was young; and despite his all but fully devel-

oped frame, in aspect looked even younger than
he really was, owing to a lingering adolescent ex-
pression in the as yet smooth face, all but feminine
123
in purity of natural complexion, but where, thanks
to his seagoing, the lily was quite suppressed
and the rose had some ado visibly to flush through
the tan (Melville 1998: 299).
Budd – as stated by the Captain – is
such a fine specimen of the genus homo,

who in the nude might have posed for a statue
of young Adam before the Fall (Melville 1998: 345).
Meanwhile, as Patricia Howard spitefully commented

on Glossop, he is “more a ‘St Bernard’s dog’ than
a ‘Celtic Apollo’!” (1968: 1125). Both Glossop (born
in 1928) and Allen (1944) are around forty in the produc-
tions under consideration. It has been affirmed in studies
devoted to Britten’s opera that that the librettists came
to a decision to considerably increase the protagonist’s
age, to make it possible, in interpretative terms, to rule
out the implied father-son bond and substitute
it by a – more or less – peer relation (however,
in my opinion, this analysis is not based on the libretto,
but rather on the stage productions). Broadly speaking,
this is to imply that the productions are to shift the focus
from homoerotic to homosocial relations, and, indis-
putably, Forster’s statement quoted in Hollinghurst’s
novel may allude to this argument.
One of the most interesting communication links be-
tween the characters in Tim Albery’s staging is the no-
tion of glance. Since the conscription scene, Claggart
has been avoiding Billy’s glance. In Melveille’s version,
on the other hand,
124
that glance would follow the cheerful sea-Hyperion
with a settled meditative and melancholy expression,
his eyes strangely suffused with incipient feverish
tears. Then would Claggart look like the man of sor-
rows. Yes, and sometimes the melancholy expression
would have in it a touch of soft yearning, as if Clag-
gart could even have loved Billy but for fate and ban
(Melville 1998: 338).
In Coleman’s staging the issue of glance

was scarcely brought into play. From the standpoint
of this study a scene in which the intriguing statement
is to be expressed is of particular substance, that is:
“Handsomely done, my lad. And handsome is as hand-
some did it, too” (Britten 1979: 191). Here comes Squeek
– an instigator working for Claggart – who gets caught
red handed when fumbling through Budd’s belongings.
Squeek rushes to attack Billy just to become knocked
down to the deck himself. Upon Claggart’s request
Dansker explains the incident. Having uttered
the quoted sentence, Claggart gives them the command
to be dismissed. However, as included in the stage direc-
tions: “Claggart turns away. A Boy stumbles against
him. He lashes savagely at him with his rattan.
[Boy] crying out” (Britten 1979: 191). The director devel-
ops the scene: Billy Budd hugs the lurching boy, Clag-
gart’s and Billy’s glances meet – which is in stark con-
trast to the smile which accompanies the above quoted
words and which is to be mentioned by the seaman
during the conversation with Dansker, warning
the latter against Master-at-Arms’ bad intentions
(cf. Britten 1979: 192-193); since their glance cross
they have been deliberately avoidind each other’s gaze
and tended to absently look at the air.
125
Furthermore, in the scene when Claggart accuses
Budd, the former is positioned behind Vere. Hence
the characters cannot examine their reactions (it remains
unclear whether this step was taken on purpose,
or if the point was to allow the audience to see both faces
simultaneously). It is not until Vere talks about false
witness that their gazes meet. Vere has to bear up
Budd’s downcast look, when – against the latter’s will –
he refuses to inform the court about the possible reasons
why Claggart has groundlessly accused the seaman.
Finally, the Captain is forced to look at Bill in the scene
of pronouncement of the sentence by First Lieutenant –
as he stands next to him, which is not proposed by stage
directions.
In Albery’s staging, the glance plays an important
role in building up dramatic tensions and emotions. Billy
is the only one of the three conscripts who plucks
up the courage to look into Claggart’s eyes – since
he knows that, as an “able seaman”, he is at home. Mas-
ter-at-Arms avoids his gaze; leaves, as if recollecting
something; he reacts bizarrely to the word “foundling”,
as if to suggest he has a knowledge of the young man’s
past. Claggart’s gaze gives away his awkwardness
and is more and more persistently directed at the deck.
In this scene Billy removes a red scarf from his neck
(which has been part and parcel of his outfit from
the very beginning, that is since the opening of stage
design) – is this gesture to symbolize his – also sexual –
submissiveness? Further on, during his conversation
with officers about Billy Budd (act I scene 2: “just youth-
ful spirits. . . . No danger, gentlemen”, Britten 1979: 189),
Vere’s gaze is evidently pensive, and his interlocutors
look at each other surprised, even dismayed, as if sus-
126
pecting something, as if this unforeseen seaman’s praise
concealed something “inappropriate” (i.e. desire).
(5)
Coming back to the previously proposed thesis, the only

peculiar game between what is said and what is sug-
gested in Melville’s story as well as Forster and Crozier’s
libretto allow the audience of both productions men-
tioned to unravel “the other bottom” of the opera plot
above all, to pin down its interpretative meaning. With-
out these supplementary contexts, especially those re-
lated to Claggart’s past, Billy Budd must astonish
the audience by the protagonists’ lack of a coherent code
of behaviour – probably even more substantial in Mel-
ville’s unfinished novella – typical of all three works.
The spectator is thus extraordinarily bemused
when hearing Billy’s groundless enthusiasm addressed
to Vere and his assurances that he would be prepared
to die for him (“I’d have died for you . . .”), as well as
by the fact that he would like to be near him –
as in the statement directly preceding the accusation
and confrontation with Claggart. Billy wishes
to be the “Captain of the mizzen” or “Vere’s coxswain”
just to be near him: “To be near you. I’d serve you well,
indeed I would. You’d be safe with me” (Britten 1979:
201). In the first four-act version of the opera, the intro-
duction of the Captain served as an excuse to render
Budd his ardent follower, even – as he reassured –
he would be ready to sacrifice his life for him.
In the final two-act version, his zealous veneration
for a person whom he knows only by hearsay is totally
127
unjustified. It remains unclear whether Forster and Brit-
ten hint at the possibility of erotic fascination.
Without considering the fact that Billy and Claggart
could have met before (which has been proposed
in some interpretations of the novella), as well as ac-
knowledging that Claggart’s mystery was associated
with an (homo)erotic relation, finally without admitting
that Melville’s descriptions of both characters imply
that they are competitive with each other in terms
of sexual attractiveness – there is no explanation
for the reciprocal enmity between Master-at-Arms
and his subordinate. Would it be only a “disinterested”
hatred, associated with his sociopathy and the convic-
tion that Claggart is stronger than love?
With hate and envy I am stronger than love.

. . . you are surly in my power tonight. Nothing can
defend you. Nothing! . . . If love still lives and grows
strong where I cannot enter, what hope is there
in my own dark world for me? (Britten 1979: 191).
Captain Vere finally utters the word “love” (Epilogue:

“and the love that passes understanding has come
to me”, Britten 1979: 205), yet for reasons unknown
resolves not to save Billy, against the others’ expecta-
tions. The librettists have skipped a vague element,
included in the story, concerning the Captain’s supervi-
sion of the trial aiming at sentencing Billy to death,
as well as the resolution not to let the trial be postponed
until they have reached the shore.
In the opera Vere merely relates what he has seen,
then becomes silent and does not add anything
to this indifferent account – against Billy’s hope.
To my mind the interpretation linking the hero’s death
128
to the concept of salvation or sacrifice is not, with respect
to the opera, convincingly justified. In fact, Billy, await-
ing his death, recalls that the chaplain has told him
about Christ’s crucifixion (“the good boy hung and gone
to glory, hung for the likes of me”, Britten 1979: 204),
and Vere exclaims: “The angel of God has struck
and the angel must hang – through me” (Britten 1979:
204, in Melville’s version this quote is used once,
in Forster and Crozier’s twice), however the parallel
Jesus–Billy is by no means obvious since Budd himself
is not a Christian himself (as it seems, it might have been
the first time he heard of Christ) (cf. Fuller 2006, passim).
According to Hindley, the quoted fragment touching
upon love conveys an evidently unreligious meaning:
He is concerned instead with the earthly and particu-

lar experience of love between Billy and Vere.
It is a very human love which is ‘Billy’s solution’
(Hindley 1989: 372).
Moreover, Vere is a man attached more to his pagan

wisdom than Christianity:
Plutarch – the Greek and the Romans – their troubles

and ours are the same. May their virtues be ours,
and their courage! O God, grant me light to guide us,
to guide us all (Britten 1979: 188).
Undoubtedly, Melville’s masterpiece could be read

as a manifest of stoicism, especially taking Budd’s final
monologue into account, which illustrates his assertion
that all that has happened is indeed meant to happen –
however, it does not refer to providence, but fate:
“But I had to strike down that Jemmy Legs – it’s fate.
129
And Captain Vere has had to strike me down – Fate”
(Britten 1979: 204). The motif of irrational destiny
is represented by mode F-minor in the score (cf. Hindley
1994: 103ff.).
Vere’s dilemma, emphasized intermittently before
and after Billy’s sentence, the assumption: “My heart’s
broken, my life’s broken” (Britten 1979: 202) point
to an evident emotional, erotic fascination with the beau-
tiful seaman, returning – and unequivocally expressed –
in the epilogue:
For I could have saved him. He knew it, even his

shipmates knew it, though earthly laws silenced
them. O what have I done? But he has saved me,
and blessed me, and the love that passes understand-
ing has come to me (Britten 1979: 205).
It is noteworthy to mention that the epilogue seems

to be woven by the earlier words articulated by Claggart
and Budd, as well as Vere in the prologue (Law 1985:
308).
(6)
The two productions of Billy Budd go in two different

directions in terms of stage design (oppositions: realism,
historicism and symbolism; film as opposed to theatre
features), especially when it comes to the character pro-
file. Albery’s staging is manifestly dominated by Richard
van Allan’s outstanding cast and vocal performance,
hence renders Claggart the main protagonist, with a run-
ner-up being Vere, and the third the eponymous hero.
Furthermore, due to Peter Pears’ cast – and, admittedly,
his legend – Vere makes the best lead character
130
in the first production. Although outstanding in terms
of vocals, Glossop is not highly acclaimed as an actor,
hence his cast of Billy is barely convincing.
It can be also assumed that the differences between
the two stage productions in question are premeditated.
They undoubtedly have to do with a different technique
of scene composition. Let us, for instance, scrutinize
a scene that precedes Claggart’s killing by Billy. Here
the Captain calls for Budd in order to confront Master-
at-Arms. Unaware of what is to come, Billy is convinced
he has been called to be informed of his much expected
promotion which would enable him to become close
with Vere. Since Claggart’s entry the eye contact be-
tween the accused and accuser has started. Vere’s order
to stand at the indicated places brings them even nearer.
It is Claggart, as if with the intention to dominate Budd,
that approaches Budd, draws dangerously near, so near
in fact that only one punch suffices to knock him down.
Notably, the Captain, who encourages Budd to de-
fend himself and overcome his stuttering fit, holds
his hand on the latter’s shoulder: he might not push
him towards Claggart, yet does not stop him either.
On the other hand, Albery arranges the scene in another
way. Two identical (musical and dramatic) entries
of Master-at-Arms attract attention: before the denuncia-
tion and before confrontation. Standing behind Vere,
no sooner does Claggart meet the Captain’s glance
than the word “mutiny” – feared by all – is uttered. Billy
and Claggart will be kept at a considerable distance
by the Captain, which is shortened by Budd, as during
Claggart’s announcement of accusations he is gradually
approaching Claggart, cowered and vulnerable.
131
(7)
Both stage productions under debate testify to certain

ways the 20th century opera theatre dealt with homoero-
tism implied by the work. It needs to be mentioned that
the stage production of Billy Budd as well as its studio
production by Coleman emerged in the period wherein
homosexual acts were penalized by the British law,
which resulted in understatements, about which Forster
complains in Hollighurst’s novel. Melville’s characters
seemed to constitute an excellent excuse for the replace-
ment or suppression of sexual relations by the introduc-
tion of the issues of domination and submission, under-
scored chiefly by the second production. Forster
(he is after all the main protagonist of his libretto)
adopted a writing technique in Billy Budd akin
to that his readers will remember from Maurice, namely
the strategy of understatement, silence, nicknaming;
to put it metaphorically: the resolution to leave “sensi-
tive” textual spots untranslated from Greek into English.
***
Billy Budd is by no means the opera directors’ first
choice. In 2009/2010 it was staged only in Bilbao, Frank-
furt, and Paris. Hence the new production in Glynde-
bourne, directed by Michael Grandage, with Mark Elder
as the conductor, whose opening took place on the 20th
of May 2010, is very much welcome. New productions in
Amsterdam and Düsseldorf are planned for 2010, and
the resumption in Paris. The Glyndebourne production
testifies to the magnitude of the productions being dis-
cussed in the paper. Herein Billy (Jacques Imbrailo,
Thomas Allen’s student) is no longer a young man
132
(which is at odds with his description of “boy”, used in
the libretto after all), and Phillip Ens – starring as Clag-
gart – was made older by at least ten years in order to
deepen the age discrepancy known from the previous
productions.
Translated by Paweł Wojtas
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Heiko Zimmermann
University of Trier
Teaching E. M. Forster in 2010:

Essayistic Reflections
Preface
At first glance, occupying oneself with the question

of why to study and why to teach literature seems to ill
befit younger scholars and teachers of literature. It seems
to be the realm of the more experienced decision makers
in the educational system. However, in my opinion,
it should be the first question to be asked once the teach-
ers involved are not merely forced to teach given sub-
jects without any right to share in decisions about
the curriculum, the methods and the standards.
How else can topics that are not objectivizable
be taught? In physics, for example, a calculus done using
the Maxwell’s equations is either right or wrong.
The success of the teaching can be measured in the abil-
ity of the students to replicate the right solutions
of the formulae. There is also a very practical test
of the application of Maxwell’s equation which is based
on nature as such: Either there is, for example, an electric
current that makes a filament glow, or it stays dark
in the room.
However, there is not such an easy answer
to the question of how to understand a literary text
137
and how to deal with it – at least if one wants to take
up a democratic approach. The relations to the individ-
ual lives are much more manifold, depending
on the own experience, on class, ethnicity, nationality
and time. The light bulb – to stick with the chosen ex-
ample – emits electro-magnetic radiation, no matter
who looks at it and no matter who teaches the basics
of electrodynamics and how. The effects of the ways
we read and analyse literary texts are much less predict-
able; they are infinitely more subjective. Equally subjec-
tive are the reasons, texts, and methods which are cho-
sen in the literary classroom. As these reasons precede
and influence the teaching, it befits every teacher
of literature – who has the freedom of choice – to ponder
about them. This includes the younger scholars. I have
taken the liberty of sharing my thoughts on this topic
in a rather essayistic form.
Introduction
E. M. Forster is not topical. He is old-fashioned, a relict

from bygone days before the heydays of Modernism
and before the failure of the great project of Modernity
in the first half of the 20th century. This is what many
people would agree on. However, taking a fresh glance
at his life and œuvre, it becomes obvious that this stance
is incorrect. Forster was an in-between figure, a transi-
tional author writing in and about his transitional time,
bridging the gap between the most diverse cultures
and influences, contemplating on how all these differing
approaches to life could possibly be combined to achieve
what he believed to be a humane future of humankind.
138
We are living in equally transitional times;
the internet revolution and other globalising forces have
come upon us; we have to renegotiate the terms
and conditions of our coexistence. This is why an occu-
pation with this – again – most topical author
and his writings can be beneficial to us today.
In my essay, I would like to focus on the variety
of problems we have to contemplate upon and address
in our teaching today, and in how far Forster
can be a vehicle for this purpose in the literature class-
rooms at universities in 2010. Some of the topics
that have to be addressed and re-addressed are ques-
tions of gender and sexual orientation roles, questions
of ethnicity and nationality and the educational canon
with the values that shall be conveyed through it.
Challenges for University Education in the 21st Century
In her 2003 monograph Teaching Literature, Elaine

Showalter notices that
[i]n the past 40 years, a whole new vocabulary

of pedagogy has developed, with distinctions be-
tween compulsory and post-compulsory education,
young and adult learners, Bloom’s taxonomy
of learning objectives, Kolb’s cycle of learning
modes, and Dale’s learning cones (2003: vii).
This kind of pedagogy or didactics is not what I would

like to meditate upon in this essay. I am more interested
in the underlying principles. Why do we teach litera-
ture? What is its aim? What is the underlying ideal?
Some people argue that the recent idea of the Euro-
pean Bologna process was initiated foremost by eco-
139
nomic forces.16 These forces also focus on a faster acqui-
sition of university degrees. Ball points out that central
elements of such educational reforms are common
around the globe (cf. 1998: 122). According to the activ-
ists in the students’ protests of 2009, the change from the
Magister to the Bachelor and Master system in Germany
impedes interested students not only in the participation
in students’ self governance, but it also forces them
to follow courses of study which are organised more
along school lines, often not providing much time
for own projects, like having literary circles, discussion
groups or working on a voluntary basis. These are,
however, the places where social interactions shape
the point of view towards society, the future, capitalism
and towards the own purpose of life. As educational
agents, new courses of study, in my opinion, have
to reflect the reduction of students’ self-organised forma-
tive activities and the resulting increase in responsibility
towards the students and towards society. The humani-
ties and the social sciences are the fields that deal di-
rectly with the most important subject: the human –
medicine and biology, admittedly, do so too,
but from another perspective. We are responsible
16The most critical comments about the process originate

from the left wing of the political spectrum. The Bologna process
is seen as being intertwined with the Lisbon Strategy of making
Europe “the most competitive and dynamic knowledge-based
economy in the world” (“Lisbon European Council 23 and 24 March
Presidency Conclusion”). Additionally, it is observed that
the opening of the education sector for privatisation and trade,
as outlined in WTO’s General Agreement on Trade in Services
(GATS), has helped to rethink education along the lines of market
economy (cf. Stern 2010 or Hirsch 2008).
140
for discussing values, society and the arts, which
are an expression of the first.
How is it possible to define the social goals of uni-
versity education? Elaine Showalter puts it this way:
If we can’t agree on a definition of literature,

can we agree on the goals of teaching literary texts?
Probably not (2003: 22),
yet the point of literary education in the past

was to make people better (cf. Showalter 2003: 22).
As we know, the idea of creating better people by offer-
ing them education, the project of Enlightenment Mod-
ernity, failed in major parts – one could discuss when
and how precisely; for many, surely with the Second
World War and the Shoah. While at the beginning
of the 20th century, most often
teaching was preaching, literature became quickly

the province of dilettantes and gentlemanly aesthetes
in the 1930s who opposed the vulgarity of the indus-
trial urban mass society (cf. Showalter 2003: 22).
Terry Eagleton puts it this way:
in the early 1920s it was desperately unclear

why English was worth studying at all; by the early
1930s it had become a question of why it was worth
wasting your time on anything else (1996: 27).
In the 1960s and 70s, the field was often the place
for political discussion and reform. Today, we are con-
fronted with other challenges. Showalter writes that
141
[i]n dark times, moments of personal or collective
anguish, literature professors have to think about
the abstractions of professional ethics in a much
more urgent and existential way. At these moments,
the clichés of our field suddenly take on startling life,
and the platitudes of the humanities become credos
that confront us with real choices and decisions
on how to act (2003: 131).
One of the darker hours was surely the time of the at-
tacks on the World Trade Center and the Pentagon.
Showalter recounts the classroom experiences of a gra-
duate student teaching a course at Columbia:
On the day of the attacks, we were supposed

to finish Homer’s Iliad. A mere 48 hours later,
our oldest epic – a story of humans facing death
and replacing anger with compassion – resonated
with a profundity that I had never experienced
in the classroom (2003: 138).17
This extreme example shall serve to illustrate the impor-

tance of literary education at universities. However,
it is seldom terrorism or acute catastrophe we are con-
fronted with. It is rather processes like globalisation
that demand a reaction from literary scholars. As Gogh
as well as Edwards and Usher point out, the impact
of globalisation on the curriculum and on pedagogy
is mainly two-fold (cf. Edwards 2008: 53). First, the aim
is
to enable learners to engage as global citizens or con-

sumers – covering, for example, issues such as global
17 Original source: Crosby 2001.
142
values, social justice, sustainable development
and environmental education (Edwards 2008: 53).18
Second, there is the examination of the impact of infor-

mation and communication technologies as well
as of space-time compression (cf. Edwards 2008
and Mason 1998). The demand of such objectives
in university education is amplified by the fact that
two levels of reflection are to be taught as students
on teacher courses shall be enabled to teach these issues
later on to their own classes at school. The resulting
challenges stem not only from globalisation as an inter-
action between citizens of different nation states
but also, as Edwards suggests, from within these states,
given their multiculturalism (cf. 2008: 69). He concludes,
however, that
if the curriculum is taken to be a selection from

the dominant culture and if the pedagogy is one
of transmission, it could be construed as an attempt
to impose a certain order, engendering dislocations
of its own (2008: 72).
This cannot be the aim. Knowledge should rather

be socially situated and constructed; learning should
be a personal act, the curricula delimited by the students
and their backgrounds. What the teacher can offer
18Rowan describes the effects of globalisation on identity very aptly

as follows: “Generally speaking, globalisation is not about military
battles fought over borders . . . but rather it is about a colonisation
of signs, symbols, language and culture. Eventually it becomes
a matter of identity, as people begin to identify themselves in ways
which transcend their traditional cultural borders and engage
with global entities” (1997: 3).
143
is material which, on the one hand, shows strategies
of coping with problems similar to the current issues,
and, on the other hand, provides objects to come
up against, objects that productively create friction while
dealing with them. Forster and his texts offer both.
Two examples shall suffice.
1st Example: Gender and Sexual Orientation Roles
Forster’s writings have been said to contain implausible

depictions of romantic love between women and men,
for example in his Italian novels, but is this true
and if so, why? This is a topic that can be dealt
with controversially and productively in literature class-
rooms. Today, the approaches to love between hetero-
sexual people are surely more diverse than the common
consent in the decades before the current standard
of individualism (i.e. after, for example, the sexual revo-
lution) would suggest. Hence, the views on the depicted
relationships in fiction might differ as well, which opens
Forster’s writings to new debates.
Moreover, the rising acceptance and cultural inte-
gration of homosexuality in the Western world clashes
with an archaic worldview of recently re-religionised
or traditionally homophobic parts of the world19 that
are in closer contact with each other due to new
means of communication and political involvements.
19This is, of course, an oversimplification. With “traditionally

homophobic” I mean regions in which, in contrast to the Western
world, the universality of human rights and the outcome
of the human rights movements are, for diverse reasons,
in contradiction with the established cultural practice in terms
of the status of homosexuality within the society.
144
There seem to be many fields in which the human rights
and findings of science that used to be taken for granted
are questioned again.20 Forster with his covert homosex-
ual undertone, his overt portrayal of homosexuality
in Maurice and the slightly exaggerated meditations
about it, e.g. in “Little Imber”, can be a basis for discus-
sions of the subject.
Issues that have to be addressed in present day uni-
versity classrooms are the history and the status of gen-
der and sexual orientation, such as stereotypes, legisla-
tion and power relationships, e.g. the concept of hetero-
normativity. Talking about Forster’s œuvre, two ap-
proaches to the texts seem to be fruitful. A biographical
approach that centres around the author’s sexuality,
resulting in conjectures about his stopping publishing
prose, seems to be rather old-fashioned. Using intrinsic
approaches, one can help students to connect to the topic
without the necessity of them being interested
in the author.
First, there is the question of the plausibility
and credibility of heterosexual encounters, love
and romance in his novels that has been discussed fre-
quently and can be reviewed with students. Here, novel
points of view towards roles in flirting or in relation-
20An example might be the seemingly growing influence

of evangelical fundamentalists in various parts of the globe. The idea
of, again, understanding homosexuality, which had been deleted
from the World Health Organization’s ICD list of illnesses in 1990,
as a disease that ought to be cured is not only the basis of re-
education seminars at fundamentalist mass events like the German
Christival (cf. Deutscher Bundestag 2008) but even plays a role
in reforms in state legislation, e.g. most recently in Uganda (cf. Pan
Africa International Lesbian, Gay, Bisexual, Trans and Intersex
Association 2009).
145
ships might emerge. Second, “weird” homosexual en-
counters can be another topic. The endings of some
of Forster’s homoerotic pieces of prose are especially
interesting, be it the violent murder in “The Life
to Come” (an escape to the afterlife), the fantastic plot
of “The Classical Annex” (a narrative escape to classical
mythology), the bloody ending of “The Other Boat”
(no escape at all, an end in death – the image of gays
being punished for their sexual identity), the implausible
and dissatisfying ending of Maurice (an escape to pas-
toral nature) or the grotesque deconstruction of nature
and heteronormative society in the whimsical dystopian
fiction “Little Imber” (an escape to implausibility
and/or an improbable future). Comradeship and a ten-
sion between a homosocial society and homoerotic
attraction is also a topic that can be traced in most
of Forster’s longer prose texts.
Parminder Kaur Bakshi’s Distant Desire argues
that not political and social critique but homosexual love
forms the major part of A Passage to India. Aziz’s
and Fielding’s friendship, complemented with Indian
mythology, shall convey intimacy between the two men.
In the end, their friendship, or, if you follow Bakshi,
the ideal homoerotic love fails due to political and social
circumstance. George Piggford’s Queer Forster moves
along similar lines, arguing quite biographically
that Forster’s homosexual desires resulted in a fetishisa-
tion of the colonial or social other, i.e. people of other
ethnicity or class.
From my experience, I can say that an intrinsic ap-
proach is more promising. Teaching “Little Imber”
to an undergraduate class, I was astounded by the posi-
tive reception by the students. I had thought that
146
they would consider the story’s implausibility cheap,
the plot and especially its ending somehow even dis-
gusting. Quite the contrary was the case. The discussion
which had started with an analysis of male and female
roles within the story ended with the conclusion
that the text represented a very welcomed finger exercise
in deconstructing heteronormativity. Indeed, this is one
of the most striking features of the story. Heteronorma-
tivity which makes up binary “natural” roles such
as the ordered pairs male/female (sex), male/female
(gender), masculine/feminine (appearance and behav-
iour), father/mother (parental roles), active/passive
(behaviour) is ignored in almost every aspect
of the story, even the roles during sexual intercourse
are addressed and then dismissed,
“There’s my bed. Are you frightened to come off

in it with me?”
“I’ll come off with you.”
“Will you lay warm under me afterwards?”
“I’ll lay warm above you.”
“That’s fair enough. Come” (1980: 234).21
The variety of Forster’s approaches to questions

of gender and sexual orientation offers plenty of inter-
sections with today’s questions. Of course, one can also
take a glance at the author’s biography, but this does not
seem to be necessary at all.
21 For a detailed analysis of the story, cf. ch. 6 from Meyer 2000.
147
2nd Example: Ethnicity and Nationality
A Passage to India is not the only text dealing with the dif-
ferences, the misunderstandings and the struggle
for ground of different cultures in Forster’s œuvre.
There are, next to the obvious Italian novels, short stories
as well as non-fictional texts that deal with national
and racial stereotypes and identities (e.g. Hills of Devi
or “Recollections of Nassenheide”). Many of them share
the belief that underneath all the differences, there
is a human core that needs to be addressed by trans-
gressing or discussing the separating differences.
This shall be exemplified looking specifically at Forster’s
image of Germany.
The columnist Julie Burchill writes in her essay
“Thinking the Wurst”, “it’s fair to say that Not Being
German – in fact, being The Opposite Of German –
did in some way define my life” (2001). By stating this,
she supports the findings of image and identity studies
(cf. Zimmermann 2003 ch. 1.1). “Othering”, the discur-
sive constitution of identity, is traceable in Forster’s
writings, too. Forster does not only construct the English
national identity by othering it from Germany,
e.g. he also deconstructs the contrast that is the core
of his definition to eventually outline the unavoidable
convergence of various cultures in the future.
According to Forster, a distinctive feature of English
society is its middle-class character:
Solidity, caution, integrity, efficiency. Lack of imagi-

nation, hypocrisy. These qualities characterize
the middle classes in every country, but in England
they are national characteristics also, because only
148
in England have the middle classes been in power
for one hundred and fifty years (1967a: 13).
Forster maintains that he can find the traces of these

characteristics in literature as well. An example might
be a “Boy Scout Manual” (1985: 9) written by Daniel
Defoe:
Robinson Crusoe an English book, and only

the English could have accepted it as adult literature:
comforted by feeling [sic!] that the life of adventure
could be led by a man duller than themselves.
No gaiety wit or invention. . . . Defoe never really
leaves Newgate or Bartholomew Close. . . . Passing
on to the dreary Bloomsbury conclusion that
the pot’s perspective may be as satisfying as the uni-
verse if the writer believed in a pot with sufficient
intensity. I say such a writer’s a bore merely (Forster
1985: 9-10).
The main target of Forster’s criticism of the English,

however, is their underdeveloped hearts (cf. 1967a: 4-5).
This lack is so obvious that it even is displayed
in the capital city.
London is [to Forster] a ‘caricature of infinity’, ex-

pressing all that is formless, everything that is op-
posed to the sprit of love (Beer 1962: 110).
This spiritual deficiency has traditionally been explained

by the supremacy of the empirical method in England.
Philosophers like Carlyle have enviously discussed
German mysticism (cf. Blaicher 1992: 100-101). Forster
writes about German emotionality:
149
In Germany the Reformation was due to the passion-
ate conviction of Luther. In England it was due
to a palace intrigue (1967a: 21).
The criticism of the English character is omnipresent

in Forster’s writings. However, in the comparison
to Germany, he does also detect similarities. In his essay
“Tolerance”, he finds alarming parallels.
Take the evil of racial prejudice. We can easily detect

it in the Nazis; their conduct has been infamous ever
since they rose to power. But we ourselves –
are we guiltless? We are far less guilty than they are.
Yet is there racial prejudice in the British Empire?
Is there no colour question? (1941: 57).
Interestingly, Forster especially notices the beautiful

landscape of Germany that reminds him very much
of the once pastoral history of England. Just to give
one example from his “Recollections of Nassenheide”:
It is curious that Germany, a country which I do not

know well or instinctively embrace, should twice
have seduced me through her countryside.
I have described the first occasion. The second
was half a century later when I stayed in a remote
hamlet in Franconia. The scenery was more scenic
that in Pomerania. There were swelling green hills
rising into woodlands. There were picturesque cas-
tles and distant views. But the two districts resem-
bled each other in their vastness and openness
and in their freedom from industrialism. They were
free from smoke and wires, and masts and placards,
and they were full of living air: they remind
me of what our own countryside used to be before
it was ruined (1959: 14).
150
Many of Forster’s texts can serve to discuss issues
of national stereotypes and national identities. The fol-
lowing could be a possible line of thought while teach-
ing one of Forster’s major works, Howards End.
One may as well begin with Helen’s letter to her sis-
ter. In this letter, she writes about her first visit
to Howards End:
I quite love that tree already. Also ordinary elms,

oaks – no nastier than ordinary oaks – pear-trees,
apple-trees, and a vine (Forster 2000: 1).
The tree which she loves is a large wych-elm. The young

lady compares English oaks with German ones,
and she concludes that they were no nastier than ordi-
nary, probably German – because German trees
are familiar to her – oaks. The oak as well as the wych-
elm serve as symbols in Forster’s 1910 novel. Due
to the inflationary use in German romantic writing,
the traditional symbol for power and strength is also
a symbol for Germany. Without doubt, the narrator
of the novel presents the reader the main topoi
at the very beginning of the text. Later on he/she also
explains that “the wych-elm . . . was an English tree”
(Forster 2000: 203). Following the symbolism of the trees,
one would have to see Germany and England
in the focus of interest in the novel. Lionell Trilling sup-
ports this observation. For him, the main question
of the novel is “Who shall inherit England” (cf. Colmer
1969: 12), or to put it more generally, one could just say
that the book moves along the lines of the Condition
of England debate started by C. F. G. Masterman one year
151
before Howards End was published. P. N. Furbank puts
it this way:
Edwardian England . . . was obsessed with Germany,

and Forster’s novel subtly probes this obsession,
so that, for instance, Mr Wilcox stammers when
the word ‘Germany’ rises to his lips: ‘England will
never keep to her trade overseas unless she is pre-
pared to make sacrifices. Unless we get firm in West
Africa. Ger. . . untold complications may follow.’
Forster carpeted the common notion that Prussian
strength spelled ‘manhood’ and let it discredit itself.
He even gave weight, a limited weight, to the idea
of war as a purifier: thus, it is a German sword,
sheathed after Sedan, which finally cuts through
the tragic muddle in Howards End (1974: 153).
The idea of national identity is discussed openly

and in great detail in the novel itself, e.g. discussing
the background of the Schlegel family:
A word on their origin. They were not ‘English

to the backbone,’ as their aunt had piously asserted.
But, on the other hand, they were not ‘Germans
of the dreadful sort.’ Their father had belonged
to a type that was more prominent in Germany fifty
years ago than now. He was not the aggressive Ger-
man, so dear to the English journalist. Nor the do-
mestic German, so dear to the English wit (Forster
2000: 26).
In the latter, Winkgens sees the representatives

of the new Germany after 1870/71, the representants
of a naval, colonial and trading power (cf. Winkgens
1986: 175). After 1870/71, the spirit of materialism, utili-
tarianism and imperialism had arrived in Germany
and resulted in the megalomaniac belief that God
152
had appointed Germany to power. Another effect
was a deterioration of the special German intellect
and imagination (cf. ibid.). The turning away of Helen
and Margaret’s father, Ernst Schlegel, from the new
Germany produces a connection of the whole family
with the idealistic Germany. This is also supported
by their qualities as described in the novel. The Schlegels
are, in contrast to the new Germany, unpractical
(cf. Forster 2000: 144), and they represent truth in argu-
ment, whereas the Wilcoxes represent quickness
(cf. Forster 2000: 128). The Schlegels are compatriots
of Hegel and Kant, they are idealistic, dreamy, and their
imperialism is the “imperialism of the air” (cf. Beer
1962: 102-103); thus, they represent, in the contrast be-
tween public and private, the inner life in the novel.
There are all kinds of reflections and echoes
in the description of national and transnational issues
in the novel. As Müllenbrock states, it is Forster’s inten-
tion to show the pointlessness of a misled national pride.
The end of one of the fruitless debates of Mrs. Munt
and Fräulein Mosebach in the novel is marked
by a sardonic comment by the narrator, “‘Yes, that is so,’
conceded Frieda; and another international incident
was closed” (cf. Forster 2000: 143). Episodes like these
do not only show a criticism of unthinking nationalism
but also an evaluation of both sides: they are compara-
ble. Forster constructs the novel with a number of paral-
lels in the two camps. The correspondence of Frieda
Mosebach on the German side, for example, is the chau-
vinistic Mrs Munt on the English. These characters,
often not too congenial ones, present, on the one hand,
the limits of a spectrum of views, and, on the other,
153
they produce polarities which are helpful for a dialecti-
cal treatment of the challenges.
The novel does not only dwell on tradition and his-
tory, but it also outlines new developments. The narrator
of Howards End himself sees a general change
in the attitude of people all over the world. He observes
a denationalization of which the first indications
can already be found in the English capital:
London was but a foretaste of this nomadic civiliza-

tion which is altering human nature so profoundly,
and throws upon personal relations a stress greater
than they have ever borne before. Under cosmopol-
itanism . . . we shall receive no help from the earth
(Forster 2000: 259).
The proposed change towards a very different global

society can also be found in more direct words else-
where in Forster. Talking about his political aims
in 1920, Forster concluded that
[t]he nations must understand one another,

and quickly; and without the interposition
of their government, for the shrinkage of the globe
is throwing them into one another’s arm (1967a: 25).
The example of Howards End shall suffice to illus-

trate the teaching potential of Forster’s texts in the field
of national identity and national stereotypes. Questions
that can be discussed using these texts are: What are na-
tional stereotypes? How are national stereotypes cre-
ated? How are they related to national identity?
What is the function of them? How can they change
over time? By which mechanisms are stereotypes main-
tained? How do they affect perception and action?
154
As already pointed out, Forster’s texts offer both:
a discussion of the problems within the text with model
solutions and a surface against which contemporary
problems can be projected and discussed.
Conclusion
In transitional times, the educational canon has to be re-

vised as well. Forster offers a guideline in many
of his writings. In his short story, “The Celestial Omni-
bus,” for instance, he questions the idea of detached
and effectively inhumane education and educational
standards. Literature “omnibus est,” as a means
and not as an end in itself. This idea is also an argument
in the fight against cuttings in the humanities in favour
of more “useful” subjects, demanded by an economy
feeling the pressure of global competition.
This essay could only offer a glimpse into the mani-
fold aspects to be taught in modern university education
for which Forster’s writings can be an ideal vehicle.
Other topics include the history and the ideas of human-
ism in a discourse about the importance of belief
and religion – cf. Forster’s What I Believe: And Other
Essays published by the British Humanist Association,
the questions of literary periods – cf. David Medalie’s
monograph E. M. Forster’s Modernism, issues of colonial-
ism and imperialism – cf. Mohammad Shaheen’s
E. M. Forster and the Politics of Imperialism, or even envi-
ronmental questions – as pointed out in the texts
about the German landscape and a number of essays
about England.
As stated at the beginning, knowledge should be so-
cially situated and constructed; learning should
155
be a personal act, the curricula delimited by the students
and their backgrounds. With the help of Forster’s texts,
the teacher can offer material which, on the one hand,
shows strategies of coping with problems similar
to the current issues, and, on the other hand, provides
objects to come up against. E. M. Forster and his texts
offer both, and they offer a clear conviction – the belief
in humanity.
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160
Polish Aspects of E. M. Forster: A Postscript
The articles included in this volume so far aimed

at seeking and discussing new aspects of E. M. Forster
and his works. However, the question which the original
theme of our conference, “Polish Aspects of E. M. Fors-
ter”, unexpectedly brought up, still remains, as none
of the papers answered it in any way. Are there
any truly Polish aspects of Forster then? As I have taken
the blame for the muddle upon myself, I would like
to attempt to provide an answer to this question
in this brief postscript.
The first answer that comes to mind is rather obvi-
ous – no, there are none. Poland does not appear
on Forster’s radar – it is too far and does not have any-
thing much to offer. Our literature is quite parochial,
our fine arts completely unknown outside our borders,
even our music apparently did not speak to him at all –
Chopin appears in an essay in the volume Two Cheers
for Democracy (Forster 1972: 105) but only as a random
name of a famous composer. Even our men are not
his favourite type – dark hair, dark eyes and olive skin
are not often encountered among blue-eyed blonds.
And yet careful research reveals a few Polish traces
in his biography and oeuvre.
161
Forster first came to Poland in 1905 when he ac-
cepted the job offer of Countess Elizabeth von Arnim
as the tutor of her three daughters. As he later remarked:
“I wanted to learn German and do some writing” (Lago
-- Hughes -- MacLeod Walls 2008: 456). The Countess,
famous for her German Garden and its literary descrip-
tion, lived in the manor in village called Rzędziny,
22 kilometres north from Szczecin in Western-
Pomeranian province. Obviously, neither Forster nor
the Countess, nor anybody else knew that they were
in Poland, because the village was then called Nassen-
heide, while Poland arrived in these parts exactly forty
years later.
The village itself had by then quite a history
of moving from state to state: as established in
the Duchy of Pomerania in the late 13th century, it was
from 1637 to 1720 part of Kingdom of Sweden
(with a brief spell of Danish occupation), and afterwards
Kingdom of Prussia, German Reich, to be ultimately
awarded to Poland in 1945. Actually, it is only by some
weird whim of history and geography that Nassenheide
is now in Poland, since the border with Germany
is approximately one kilometre away. It also had some
literary history, as in the early 19th century it belonged
to relatives of Johann Wolfgang Goethe.
Unfortunately, Forster’s fans will not find many
traces of his presence there. The manor did not survive
the Second World War. According to Polish historians
of the region, it was destroyed by the Allies in August
1944 during a bombing attack on the nearby synthetic
fuel plant Hydrierwerke Poelitz AG in Police (Kalita-
Skwierzyńska -- Opęchowski 2007: 104). Nicola Beau-
man, however, claims that “the house was destroyed
162
by Russian shells in 1945” (1994: 175). Regardless
of which version is true (and the house could have been
bombed twice in the final months of the war), only
the stable block and chestnut avenue have survived
to this day.
I tried to look for some Polish traces in Forster’s let-
ters from Nassenheide and, quite obviously, found
nothing. However, Forster returned to his recollections
of Nassenheide in 1958 when he reviewed a recently
published biography of his hostess there, Countess
Elizabeth von Arnim, written by Leslie de Charms
(Lago -- Hughes -- MacLeod Walls 2008: 456-462),22
and in his broadcast I found the following sentence:
The light from the trees fell marvellously

on the moving hay carts and on the shoeless Poles
(Lago – Hughes – MacLeod Walls: 461).
Were there any Poles there then? Yes, there were,

but they were most probably farmhands who regularly
migrated to Germany in search of employment.
Forster visited Poland again in the summer of 1932.
He first travelled to Romania, where his old friend
was First Secretary at the British Embassy at Bucharest,
and then on his own to Cracow. The city,
which he found a strange place (Furbank 2: 174), held for
him a surprise. Forster arrived with an introduction
to an English-speaking lady, Mrs Helena Mysłakowska,
whom he visited several times during his stay. As she
was a literary translator (e.g. her translation of Eugene
O’Neill’s The Moon of the Caribbees as ‘KsięŜyc nad Kary-
22The broadcast was also published in The Listener vol. 1 (1959): 12-
14.
163
bami’ appeared in 1934), “the idea soon occurred
to them that she might translate his novels” (Furbank
1981, 2: 174). The situation turned rather awkward when
Mysłakowska started to share with Forster the more
intimate details of her marital life (she wanted to divorce
her husband, who, as she claimed, had threatened
her with a revolver) and asked him for help.
When Forster returned to England, Mysłakowska
sent him a proposal of marriage, a few weeks later
she arrived in person and, during a walk in the woods
in West Hackhurst, she repeated her proposal in person.
To make matters even worse, Forster’s mother found
the visitor highly attractive and the writer “half sus-
pected she wanted to marry him off” (Furbank 1981, 2:
175) at the tender age of fifty-three. Forster managed
to extricate himself from the affair with fair grace,
even retaining the friendship of Mysłakowska. In Au-
gust 1934 he wrote to Christopher Isherwood about
his current employments among which he listed:
[I] prepare to entertain Mrs Myslakowska, who tried

to seduce me in Cracow two years ago in order
to get rid of her husband, and is now in England
(Lago -- Furbank 1985: 122).
A more literary souvenir of the visit is Forster’s es-

say “Chess at Cracow” (first published in Time
and Tide, 13 August 1932, and later reprinted in Abinger
Harvest), which is a recollection of a game of chess
played with human pieces in the courtyard of the Wawel
Royal Castle. It is probably the only text in which Forster
speaks about Poland at any length. Still another recollec-
tion of the voyage can be found in his Commonplace Book.
164
While travelling through Poland on the train Forster
thought about “Invocation by Rhetoric” in Shakespeare’s
plays, a thought originally brought to him by remem-
bered lines from Hamlet: “So frowned he once when
in an angry parle / He smote the sledded Polack
on the ice” (Forster 1988: 94).
Forster was not very popular (or, more precisely,
he was almost completely unknown) in Poland
in the period between the Great and the Second World
War. In the 1930s, he was mentioned in Polish press
mostly in connection with his public activities. Conse-
quently, in May 1936 a brief note „Skonfiskowana
ksiąŜka E. M. Forstera” (“Confiscated Book of E. M.
Forster”) in Wiadomości Literackie by Jan Ciepliński misin-
formed Polish readers about the problems Forster
had with the first edition of Abinger Harvest. Apparently
oblivious to facts of the case,23 Ciepliński claimed
that Forster
well known for his leftist views fell into disfavour

with the English censorship which ordered
the whole print-run to be withdrawn from the mar-
ket (1936: 6).
23The case was actually quite complex – Forster referred in his essay
entitled “Flood in the Office” to conflict between two representatives
of British administration in Egypt which took place during the Great
War. Not knowing that the matter had been the subject of court
proceedings some two decades earlier, he repeated what the court
of justice had found as libel. Consequently, the first edition
had to be withdrawn and replaced with another which did not
include the essay (Heine 1996: XIII-XVI), which was republished only
in the Abinger edition in 1996.
165
The note ends in a wish that some of Forster’s books
should be published in Poland. It received an immediate
reply from the publishing house Towarzystwo Wy-
dawnicze “Rój”, which informed the readers in June
1936 in the same weekly that A Passage to India would
be available in the autumn of the same year (1936: 8).
Apparently, the optimism was unfounded as Mysła-
kowska’s translation of A Passage to India as W słońcu
Indii (‘In the Sunshine of India’) was published only
in 1938 with the note “by permission of the Author”.
The book was quite well publicized and even
As. Ilustrowany Magazyn Tygodniowy, a weekly magazine
for ladies, included a review (Kurowska 1987: 74). How-
ever, the reviews in serious literary press were rather
critical. In his review for Wiadomości Literackie Zbigniew
Grabowski called the story “diligently banal and hon-
estly boring” while his conclusion was that it was
“yet another translator’s mistake, yet another wasted
effort” (1938: 5). The novel was also quite unfavourably
reviewed in Rocznik Literacki by Andrzej Tretiak.
The reviewer is critical towards the original, which
he found “provincial . . . regardless of its artistic merit”
and consequently “rather boring from the point of view
of a prospective Polish reader” (1939: 124). His opinion
of the quality of the translation is far worse; he quoted
some of the more unhappy translator’s choices such
as replacing “buffalo” with the most Polish of animals
“Ŝubr” (‘wisent’) or translating “caterpillars” as “mo-
tyle” (‘butterflies’) and went on to quote a lengthy pas-
sage, the meaning and style of which is rendered
in a rather grotesque way. Tretiak’s conclusion is scath-
ing: “artistic prose must not be translated in this way”
(1939: 125).
166
It is uncertain if Forster made more lasting friends
during his brief visit in 1932. One could expect that such
contacts with Poland would be traceable among
Forster’s letters, but this assumption does not seem very
rational when we consider the fact that letters sent
to Poland before the Second World War probably per-
ished, and after the war the Iron Curtain quite success-
fully cut Poland off from Great Britain. If any letters
survived in Poland, they were certainly not accessible
to Mary Lago, who compiled Calendar of the Letters
of E. M. Forster published in 1985. We can find in the vo-
lume two Poles – the poet, playwright, and literary critic
Antoni Słonimski (1895-1976) and the expressionist
painter Feliks Topolski (1907-1989) – but the correspon-
dence dates from the period when the two gentlemen
resided in Great Britain. The two letters to Słonimski
are especially interesting as they were written in Sep-
tember 1944 during the Warsaw Uprising and Forster
expressed his compassion towards the fighting Polish
capital (Lago 1985: 160). Unfortunately, they have not
been published and they are now in private hands.
Forster never returned to Poland and during his life-
time no more of his works were published here. The first
Polish translation of the short story “The Other Side
of the Hedge” appeared in 1964 in the London based
émigré magazine Kontynenty, which did not circulate
in Poland. The first novel which came out after the Sec-
ond World War in Poland was Howards End, published
in 1977 as Domostwo pani Wilcox (‘Mrs Wilcox’s Manor’),
translated by Ewa Krasińska. The centenary of Forster’s
birth was celebrated in 1979 with a new translation
of A Passage to India by Krystyna Tarnowska and And-
167
rzej Konarek. For over a decade they were the only
Forster’s novels available to Polish readers.
As anywhere else in the world, the movie produc-
tions of Merchant and Ivory renewed interest in Forster’s
works in the early 1990s. The first, moderately success-
ful, translation of A Room with a View by Agnieszka
Majchrzak appeared in 1992. Krasińska’s translation
was published again in 1993, this time as Howards End,24
as the cover design clearly suggests to accompany
the Academy Award winning film which was shown
in Poland at the same time. A new edition of Tarnowska
and Konarek’s translation of A Passage to India appeared
in the same year. They were soon followed by a transla-
tion of Maurice by Maria Olejniczak-Skarsgard (1994),
after which Forster disappeared from Polish bookstores
for another decade.
The translation of Majchrzak was not well received,
so when Polish branch of Bertelsmann started to reissue
Forster’s novels in 2003, they used the formerly men-
tioned translation of A Passage to India but ordered
a new translation of A Room with a View from Halina
Najder, which first appeared in 2003. Most of these
translations have been in print since, no more titles,
however, have become available. The first two novels,
Where Angels Fear to Tread and The Longest Journey,
have not been translated still.
Forster’s short stories were even less popularised.
The first translation of “The Other Side of the Hedge”
has been mentioned before. The first translation
24It was published yet again in 2009, this time as Powrót do Howards
End (‘Return to Howards End’), which was the title given to the film
based on the novel by its Polish distributors.
168
of “Machine Stops” by Hanna Kobus (“Maszyna staje”)
was published in a science-fiction anthology in 1986.
Another, by Piotr Szymor (“Koniec maszyny”), is avail-
able on the Internet. There are also two short stories
published in literary magazines in the year 2000
by the present author. Complete bibliography of For-
ster’s works available in Polish, including subsequent
reprints of earlier translations, is included below.
Scholarly interest in Forster has been even more lim-
ited – there are two PhD theses and probably a handful
of MA and BA theses (there are no generally accessible
data bases, while appropriate data base of the University
of Warsaw includes only two such MA theses).
The number of published scholarly studies is also
far from impressive; this volume most probably doubles
the number of studies in Forster originating from Po-
land. We all hope, however, that this collection will
mark the beginning of a renewed interest in Forster’s
works – resulting both in new translations of his novels,
short stories, and essays, as well as in new scholarly
studies (including the first monograph on Forster
in Polish), which shall reveal even newer aspects
of this great British novelist.
169
Bibliography
Beauman, Nicola
1994 E. M. Forster. A Biography. New York: Alfred
A. Knopf.
Ciepliński, Jan
1936 “Skonfiskowana ksiąŜka E. M. Forstera”,
Wiadomości Literackie 24, 6.
1972 Two Cheers for Democracy. (The Abinger
Edition vol. 11.) London: Edward Arnold.
1996 Abinger Harvest and England’s Pleasant Land.
(The Abinger Edition vol. 10.) London:
Andre Deutsch.
Forster, Edward Morgan -- Philip Gardner (eds.)
1988 Commonplace Book. Aldershot: Wildwood
House Ltd.
Furbank, P. N.
1981 E. M. Forster. A Life. San Diego, New York
and London: Harcourt Brace & Company.
Grabowski, Zbigniew
1938 “Przekłady z angielskiego”, Wiadomości
Literackie 25, 5.
Heine, Elizabeth
1996 “Editor’s Introduction”, in: Edward Morgan
Forster, IX-XVIII.
Kalita-Skwierzyńska, Kazimiera -- Mirosław Opęchow-
ski
2007 Stolec Rzędziny Łęgi. Szczecin: Stowarzysze-
nie Czas Przestrzeń.
170
Kurowska, ElŜbieta
1987 Recepcja literatury angielskiej w Polsce
(1932-1939). Wrocław: Zakład Narodowy
im. Ossolińskich Wydawnictwo Polskiej
Akademii Nauk.
Lago, Mary (ed.)
1985 Calendar of the Letters of E. M. Forster. London
and New York: Mansell Publishing Limited.
Lago, Mary -- P. N. Furbank (eds.)
1985 Selected Letters of E. M. Forster. Volume Two
1921-1970. Cambridge Mass.: The Belknap
Press of Harvard University Press.
Lago, Mary -- Linda K. Hughes -- Elizabeth MacLeod
Walls (eds.)
2008 The BBC Talks of E. M. Forster 1929-1960.
A Selected Edition. Columbia and London:
University of Missouri Press.
Towarzystwo Wydawnicze „Rój”
1936 “E. M. Forster”, Wiadomości Literackie 27
(659): 8.
Tretiak, Andrzej
1939 “Przekłady. Literatura angielska i anglo-
amerykańska”, Rocznik Literacki VII (1938):
114-133.
Polish editions of E. M. Forster’s works
Novels
1938 W słońcu Indii (A Passage to India). (Transl.
by Helena Mysłakowska.) Warszawa: Towarzy-
stwo Wydawnicze Rój.
171
1977 Domostwo pani Wilcox (Howards End). (Transl.
by Ewa Krasińska.) Warszawa: Czytelnik.
1979 Droga do Indii (A Passage to India). (Transl.
by Krystyna Tarnowska and Andrzej Konarek.)
Warszawa: Czytelnik.
1992 Pokój z widokiem (A Room with a View). (Transl.
by Agnieszka Majchrzak.) Warszawa: Comfort.
1993 Howards End. (Transl. by Ewa Krasińska.) War-
szawa: Czytelnik. [New edition of 1977 transla-
tion with a new title.]
Gdańsk: Atext. [New edition of 1979 translation.]
1994 Maurycy (Maurice). (Transl. by Maria Olejniczak-
Skarsgaard.) Gdańsk: Atext.
Warszawa: Świat KsiąŜki. [New edition of 1979
translation.]
by Halina Najder.) Warszawa: Świat KsiąŜki.
2009 Powrót do Howards End (Howards End). (Transl.
by Ewa Krasińska.) Warszawa: Prószyński
Media. [New edition of 1977 translation with yet
another title.]
by Halina Najder.) Warszawa: Świat KsiąŜki.
[New, book-club edition of 2003 translation.]
[2009] Pokój z widokiem (A Room with a View). (Transl.
by Halina Najder.) [Słupsk:] Oxford Educational.
[New edition of 2003 translation, published in
the series “Love & Story – Classic Romances”.]
172
Short Stories
1964 “Po drugiej stronie Ŝywopłotu” (“The Other Side
of the Hedge“). (Transl. by H. Carroll.)
Kontynenty 72: 18-20.
1986 “Maszyna staje” (“Machine stops”) (Transl.
by Hanna Kobus.), in: James E. Gunn (ed.) Droga
do science fiction 2 (Road to Science Fiction: From
Wells to Heinlein). Warszawa: Alfa.
2000 “Skała” (“The Rock”). (Transl. by Krzysztof
Fordoński.) Znak 11 (546): 156-159.
2000 “Aneks klasyczny” (“The Classical Annex”).
(Transl. by Krzysztof Fordoński.) Przekrój 46
(2689): 54-55.
n.d. “Koniec maszyny” (“Machine Stops”). (Transl.
by Piotr Szymor.) (http://www.fabs.icmedia.pl/
main.php?index= 490&show=351&lang=pl) (date
of access: 25 May 2010).
173
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New Aspects of E. M. Forster

Book · December 2010

E. M. Forster: Nature, Culture, Queer! View project

Language and Literary Studies of Warsaw View project

The user has requested enhancement of the downloaded file.

International E. M. Forster Society

NEW ASPECTS OF E. M. FORSTER

Edited by Krzysztof Fordoński

Współpraca redakcyjna / Assistant to the Editor

Projekt okładki / Cover design

Zdjęcia na okładce / Photographs on the cover

Wydanie pierwsze / The first edition

Druk i oprawa / Print and binding

This collection of essays grew from a scholarly meeting,

Ironic Reflections on Life: E. M. Forster’s Novels

The use of irony by E. M. Forster is so obvious that very

Irony and Modernism

Irony has been a useful, likeable, and thus eagerly em-

Forster’s Approach to Irony

Forster is by far the case in question. Although quite

Everywhere that Forster sees creed overtaking hon-

Yet, as some critics observe, the irony of the writer

Henri Bergson and irony

In very general terms, Bergson’s approach to irony

The word baffling alone brings certain associations

[Bergson argues] that laughter arises when a rigidity

This very citation may serve as a conclusion to the basic

Let us start with the following quote from the essay:

To understand laughter, we must put it back into

To give an example, Bergson describes the following

A man, running along the street, stumbles and falls;

Does it not sound familiar? Let us look at the following

[Lilia] learnt to bicycle, for the purpose of walking

According to Bergson’s theory, the whole accident

The corresponding fragment comes this time from

He [Cecil] was medieval. Like a Gothic statue. Tall

But that is what comedy has in common with drama;

In Forster’s works the conscious (ACTION)

She began to pace Rickie’s room . . . There was noth-

Undeniably, this is the opinion of Agnes although

The movement: A Room with a View

At that supreme moment he was conscious of noth-

Also in this case an artistic stereotype is verified by

1 This is how the stereotypical thinking of Agnes is disclosed. She acts

exactly as the “programmed” Victorian audience: she does not spend

as a Work of Art” and it refers to the perception of Lucy by Cecil.

The language: Howards End

In the following passage we will see the distorted atti-

Leonard was trying to form his style on Ruskin:

As it can be seen from the above, Bergson and Forster

Laughter comes into being in the self-same fashion.

Baldick, Chris (ed.)

E. M. Forster’s Uneasy Bildungsroman:

Uneasy Bildungsroman; the very caption of my article

4 Which perhaps distinguishes the traditional Bildungsroman model

from its related picaresque genre, whose characters are funda-

fails to achieve sufficient distance from the problems

The formal incoherence may thus be either attributed