61 pages • 2 hours read
Forster emphasizes class divisions through the interactions between the Basts on the one hand and the Schlegels and Wilcoxes on the other. At the beginning of the novel, Leonard is a poor clerk, while the Schlegels live comfortably off of an inheritance and the Wilcoxes are fairly rich business people. While the Schlegels maintain a different attitude than Mr. Wilcox or Aunt Juley to Leonard, they nevertheless take for granted that there is a divide between them. The Schlegel sisters also maintain a different relationship to their own class than does Mr. Wilcox, and as a consequence they perceive themselves as being fundamentally different to the Wilcoxes.
Although the Schlegel sisters do not behave haughtily toward Leonard, there is nevertheless a clear division between them. The sisters do not view socializing with Leonard as beneath them, since they are relatively unprejudiced. They tend to view him as an interesting person who shares their reverence for beauty and adventure. However, they nevertheless view him in a patronizing manner, which is evident in the scene in which he becomes the topic of conversation at their discussion club. Here, the name “Mr. Bast” becomes shorthand for a “poor” person with potential, who would (in their eyes) benefit from a rich person’s philanthropy. The fact that his situation is debated at a discussion club satirizes the difficulties of overcoming class divisions.
Leonard demonstrates his sense of the class differences between himself and the Schlegels through the idealized image he has of them and his desperate attempts to impress them with his knowledge of art. In these attempts, he demonstrates his great difference from the sisters when trying to show that he is most like them. Forster portrays the obstacles that Leonard faces when attempting to reach the Schlegels’ level of cultural capital—the price of the concert tickets and his limited time to read Ruskin after work, for example—to emphasize the systemic issues preventing Leonard from overcoming these differences.
The sisters’ attitude toward Leonard nevertheless remains different from the attitudes of Mr. Wilcox and Aunt Juley, who are both suspicious of Leonard on account of his class background and do not approve of socializing with him. They take for granted that people of their class should not mingle with those poorer than them. Forster contrasts the generous and philanthropic spirit of the Schlegel sisters with the unsympathetic perspective of Mr. Wilcox. While the Schlegel sisters participate in debates about the best way to help somebody like Leonard and feel guilt over his misfortunes, Mr. Wilcox views Leonard and the “poor” generally as necessary sacrifices to the progress of civilization. This division between the attitudes and values of the Schlegels and the Wilcoxes is evident in Charles Wilcox’s hatred for the Schlegels and Helen’s dislike for Mr. Wilcox. Nevertheless, their disagreements about Leonard generally render him a silent figure on their peripheries, highlighting the difficulties for him in overcoming class differences.
While much of the novel is devoted to showing the differences between the various characters and the social backgrounds and values they represent, the novel is also interested in the reconciliation of these differences. For example, the epigraph of the novel, taken from Margaret's thoughts, reads, “Only connect…” (3). This epigraph reads as a plea for people to look upon one another with sympathy and understanding and to recognize the similarities between themselves and others as opposed to the differences.
Margaret marries Mr. Wilcox in spite of the faults that she recognizes him to possess, notably his seeming inability to sympathize with other people. When she notices these faults manifest in her interactions with him, Margaret does not bring attention to them, instead believing that showing love for Mr. Wilcox will lead him to become more sympathetic. In this manner, she wishes to “connect the prose and the passion” (170). Later, when Helen’s pregnancy comes to light, Margaret thinks, “[i]t is those that cannot connect that hasten to cast the first stone” (284). This is after she yells at Mr. Wilcox, “[y]ou shall see the connection if it kills you, Henry!” (280). Mr. Wilcox is therefore an antagonistic figure because he struggles to connect with others through love and sympathy.
Much of the novel concerns the differences between Schlegels and Wilcoxes and whether the two can get along—whether they form complementary opposites or merely antagonistic opposites. The novel’s idea of “connection” suggests that in order to reconcile their differences and live harmoniously together, the two opposites need to recognize their shared humanity.
Mr. Wilcox’s eventual ability to “connect” is evident in his agreement to allow Howards End to pass to Helen’s child after Margaret’s death, no longer condemning Helen on account of her becoming pregnant out of wedlock and no longer remaining prejudiced against Leonard. Due to the time jump before the final chapter, Forster portrays the result of Mr. Wilcox’s ability to “connect” but not the precise process of reasoning and emotional change that Mr. Wilcox undergoes in order to sympathize with other people. This indicates that “connection” must be experienced as an interpersonal revelation, similar to Leonard’s revelation at the end of the novel that the world is good.
The changes in the social dynamics are evidenced from one generation of characters to the next as well as the broader historical and technological changes represented in the novel. The novel takes place during a time of rapid urbanization, in which London is expanding and a rural working class is being converted into menial clerks, factory workers, and unemployed poor people. Old buildings are torn down with new taller ones erected in their place, and the new technology of the automobile increasingly takes over the roads. Moreover, new debates about ideas like socialism and issues like women’s suffrage indicate the rapidly changing social environment. Forster highlights the possibilities of these changes as well as the dangers that they present to stability and rural beauty.
As an example of the double-edged possibilities of change, Leonard Bast is described as a “grandson to the shepherd or ploughboy whom civilization had sucked into the town” (105), suggesting that he has new opportunities yet must undergo violent processes of being “sucked” into difficult circumstances.
The Wilcox sisters are representative of a liberal and newly politically engaged female generation. They espouse some progressive economic ideas—including some socialist ones—and are in favor of women’s suffrage. This is in stark contrast to the older Mrs. Wilcox, who represents stability and tells Margaret that she does not think about politics at all and is happy that she does not have the right to vote.
Finally, the Wilcoxes, with their rubber business with dealings in British colonies in Africa, are representative of a class of newly rich businessmen with global interests, displacing the old aristocracy made rich by local land holdings. Both Margaret and the Wilcoxes themselves believe that people like them will usher Britain into a new age and keep humanity moving. However, Mr. Wilcox’s wealth and subsequent nonchalance about Leonard’s employer causes him to jeopardize Leonard’s livelihood, suggesting that this new class of people will disrupt any sense of stability that working-class people have.
The novel presents an ambivalent attitude toward the shifting landscape of Britain, and of England in particular, as the central conflict is the question of whether all of these new social types can profitably get along. As one example of this ambivalent attitude, during a car ride of Margaret’s, she notes that although the automobile makes transportation from one place to another quicker, it also makes it more difficult to appreciate the passing landscape. She later jumps out of a car when it hits a cat, suggesting her desire to slow progress when it damages nature even though it represents possibility.
Howards End, as a symbol of the innocent and virtuous simplicity of the countryside, is not representative of this change. The fact that the characters retreat to Howards End at the end of the novel suggests that they fear change. Nevertheless, change is inevitable, as London is shown at the end with rapidly expanding suburbs which are bound to come to Howards End in the coming years.
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