1. Du Maurier admitted that her heroine has no name because she could never think of an appropriate one—which in itself is a telling comment. What effect does it have on the novel that the heroine has no first name?
2. What kind of character is our heroine—as she presents herself at the beginning of her flashback? Describe her and her companion, Mrs. Hopper.
3. What kind of character is Maxim de Winter, and why does a man of his stature fall in love with the young heroine? What draws him to her?
4. The heroine describes Maxim thus: "His face...was arresting, sensitive, medieval in some strange inexplicable way...rob him of his English tweeds, and put him in black, with lace at his throat and wrists, he would stare down at us in our new world from a long distant past—a past where men walked cloaked at night, and stood in the shadow of old doorways, a past of narrow stairways and dim dungeons, a past of whispers in the dark, of shimmering rapier blades, of silent, exquisite courtesy." Why is this an apt description? In other words, how does it set the tone and foretell the events of the novel?
5. In what way does the relationship between the young heroine and Maxim change during the months after their arrival to Manderley?
6. What role does Mrs. Danvers play in this story—in her relationships to the characters (dead and alive) and also in relation to the suspense within the novel?
7. What is the heroine led to believe about Rebecca? In what way does the dead woman exert power over Manderley? At this point, what are your feelings about the new Ms. de Winter? Are you sympathetic toward her plight...or impatient with her lack of assertion? Or are you confused and frightened along with her?
8. What is the heroine's relationship with Maxim's sister Beatrice and her husband Giles? What about the advice Beatrice offers the heroine? ?
9. Both Beatrice and Frank Crawley talk to the heroine about Rebecca. Beatrice tells the heroine, "you are so very different from Rebecca." Frank Crawley says that "kindliness, and sincerity, and...modesty...are worth far more to a man, to a husband, than all the wit and beatufy in the world." What are both characters trying to convey to the heroine...and how does she interpret their words?
10. What are some of the other clues about Rebecca's true nature that the author carefully plants along the way?
11. How might the costume ball—and the heroine's appearance in Rebecca's gown—stand as a symbol for young Mrs. de Winter's situation at Manderley?
12. Were you suprised by the twist the plot takes when Rebecca's body is found...and when Maxim finally tells the truth about his and Rebecca's marriage? Did the strange details of plot fall into place for you?
13. How, if at all, do Maxim's revelations change your attitude toward him? Did you feel relief upon first reading his confessions? Can you sympathsize with his predicament, or do you censure his actions? What do you think of the heroine's reaction? In her place, how might you have reacted?
14. How does this new knowledge alter the heroine's behavior and her sense of herself?
15. After Favell threatens to blackmail him, Maxim calls on Colonel Julyan. Why? Why does Maxim act in a way that seems opposed to his own best interests?
16. In the end, what really happened to Rebecca? What is the full story of her death? Is it right that Maxim is absolved of any crime? Was he caught in an untenable position? Was Rebecca simply too evil—did she end up getting what she deserved?
17. How do you view the destruction of Manderley? Is it horrific...or freeing...or justified vengeance on Rebecca's part? Would the de Winters have had a fulfilling life at Manderley had it not burned?
18. Now return to the beginning of the book. How would you put into words, or explain, the sense of loss and exile that permeates tone of the opening? (You might think about a spiritual as well as physical exile.)
(Questions by LitLovers, Please feel free to use them, online or off, with attribution. Thanks.)
Why do you think the heroine remains nameless? (did you notice she was never referred to by name?) Don’t you find it interesting that the novel is titled “Rebecca” yet our narrator is nameless? Why the contrast, do you think? Do you see her anonymity as indicative of some deeper meaning?
Did you like Maxim at first? Did you trust him? Why do you think the narrator was so unsure of his affection? Did you share her doubt? What gave her confidence in his love–or did she remain insecure? Did you alter your opinion of either Maxim or the narrator in the course of the novel? What made you change your mind?
Rebecca has one of the more famous opening lines in literature. How do the opening lines set the tone of the novel?
How would you classify Rebecca? Love story? Ghost story? Tragedy? Mystery? It’s been called one of the greatest gothic romances; would you agree?
Without giving too much away (hate spoilers), were you satisfied with the ending? Why or why not?
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Could the plot of Rebecca work in a contemporary (twenty-first century) setting? Why or why not? Think about it carefully: everyone would be texting each other and DNA testing would exist… how would it unfold?
Several authors have created sequels to Rebecca. How would you envision a sequel if you were to write it? What questions do you have that you'd want answered? Would Jasper have puppies?
Why do you think Mrs. de Winter never reveals her name? Ralph Ellison's classic Invisible Man is another novel with a nameless narrator. Do Rebecca and Invisible Man have anything else in common?
Rebecca is often considered a retelling of Charlotte Brontë's Jane Eyre. What are some of the similarities and differences?
Daphne du Maurier's son is quoted as saying that his mother "was keen on the idea of beaming down and of people re-inhabiting others" (source). Is Mrs. Danvers re-inhabited by Rebecca? In the scene where Mrs. de Winter pantomimes Rebecca talking to Favell on the phone, is she possessed by Rebecca?
Do you think Rebecca was as evil as Maxim makes her out to be?
Are Maxim and Mrs. de Winter good for each other? Do they complement each other? What evidence in the text supports your answer?
How would the story be different if Mr. de Winter was not super rich? Does Mrs. de Winter only fall for Maxim because of his money? Do we have a golddigger on our hands?
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Do you think Rebecca is a sociopath? How does it influence our reading of her if we do classify her as a sociopath rather than treating her as a “normal” human being?
What do you think are the possibilities for what horrified Maxim so much in regards to Rebecca’s history and actions? What would have horrified a man like Maxim?
Jane Eyre and Rebecca are often linked, with the latter often being called a retelling (ie. appropriation). What similarities and differences do the two books have? What impact do you think any changes have on the story’s effect?
In the Victorian era, most novels centered around one person took that person’s name as their title. Male-centric novels used both the first and last name, while female-centric novels used only the first (since most novels ended with marriage, changing the woman’s last name). Jane Eyre is titled after the book’s narrator and uses both her first and last name, whereas Rebecca is titled after the dead wife and uses only her first name. Discuss.
What are some Gothic tropes you can see in this novel? How is du Maurier employing them effectively? How is she adapting and transforming them?
Is Rebecca a ghost story? Why or why not?
The real separation between the narrator and Maxim is class, but the narrator focuses instead on her age. What other problems does she blame on her age? Why do you think she does this?
Did you find anyone in this book likeable? If the answer is no, is that a problem for you as a reader? Why or why not?
The narrator frequently imagines the events someone else has described, thereby giving us vivid imagery as readers. However, this convincing and memorable imagery is only the narrator’s imagined creation, and is frequently shown later to be wrong. How much are we able to step outside our 1st person narrator in this book? Can we really escape her perspective when reading, even as we criticize it?
How is the word “companion” used in this novel, particularly by the narrator? Is it romantic or platonic? Is it a positive or negative relationship? Is it a balanced relationship?
How is gender used in this novel? Is Rebecca feminine, masculine, or a mix? How about the narrator? What power can we see accompanying gender performance?
The narrator undergoes a strong change following Maxim’s confession of murder to her. How would you characterize this change, and what reason would you give? Do you think the change is positive?
Frank Crawley, as well as other characters, often use the word “creature” to describe Rebecca, most memorably in Crawley’s statement: “She was the most beautiful creature I’d ever seen.” Why do you think he uses this word?
In the film directed by Hitchcock, because it was made in the code era, Rebecca’s death is made into an accident as opposed to a murder—although Maxim still talks about how he wanted to kill her. What is the importance of that direct violence for the story? How might you compare it to Rochester keeping Bertha Mason locked in the attic? How does the removal of that violence in Hitchcock’s film affect the story being told?
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How does the opening line of Rebecca begin to develop the theme of Past versus Present?
The opening line of Rebecca, "Last night I dreamt I went to Manderley again," suggests that the narrator has had this dream before. Readers do not yet know what or where Manderley is or its importance in the narrator's story arc; nor do they know if the dream was a pleasant or unpleasant one. But the line immediately communicates Manderley's importance as something with the power to recall the narrator from the present into her past.
Narrator
Past versus Present
How does the author use figurative language and symbolism to create an atmosphere of horror in Chapter 1 of Rebecca?
The author creates an atmosphere of horror with the use of imagery, figurative language, and symbolism Figurative language: The narrator uses personification to describe the "triumph" of the trees, with "their branches intermingled in a strange embrace." The ruined house is compared to a "sepulchre." The narrator also describes herself as "possessed of a sudden with supernatural powers" and passing "like a spirit" through the rusted, padlocked gate to invoke images of a ghostlike presence. Symbolism: The overgrown, blood-red rhododendrons, which readers will come to associate with Rebecca, are introduced and serve to intensify the dark mood. Manderley is also presented as a classic gothic centerpiece—a grand, forbidding, mysterious estate.
Rhododendrons
Manderley
Why did Daphne du Maurier choose to name Rebecca after a character who never appears as a living person in the book?
All of the central characters are in one way or another living their lives in response to Rebecca's life and death. The nameless narrator's jealousy and her need to establish her own identity form the central dramatic conflict of the novel. Maxim's relationship with Rebecca has left him haunted by the fear of discovery and limited in his ability to achieve intimacy with his new wife. Mrs. Danvers and Jack Favell, who loved Rebecca, are damaged by their grief and compelled to avenge her death. In addition, Rebecca represents rebellion against society's strictures and disruption of the rules of marriage. In this way, she is a sharp contrast to the narrator and a far more interesting character.
How does Rebecca depart from the gothic tradition in its treatment of the theme of Identity?
Rebecca includes many of the elements of gothic fiction, such as a young female protagonist; a brooding, tormented male romantic lead; an isolated, seemingly haunted estate; and a dark secret. However, du Maurier's treatment of the theme of Identity departs from the gothic tradition. In opposing the spell of the dead Rebecca, the unnamed narrator tries to claim her identity and her rightful place as the mistress of Manderley. Yet she ties her search for identity to a murderer, not a traditional hero. Also, the story does not have a clear, happy ending. In the end, the narrator is forced into a life of exile with Maxim and is still defined only as the "second Mrs. de Winter."
Compare and contrast the narrator and Rebecca in Rebecca.
The narrator and Rebecca are simultaneously mirror images of one another and opposites. They are both young women who marry the same man to become Mrs. de Winter and the mistress of Manderley. However, the resemblance ends there. While the narrator is innocent, shy, unsophisticated, and insecure, Rebecca is worldly and indiscreet, outgoing, sophisticated, beautiful, and confident. The narrator's insecurity and her motivation for marrying Maxim stem from her feelings of inferiority; she longs to raise her social status. Rebecca, in contrast, comes from Max's social world. She marries him in order to broker a marital deal that will allow her independence in return for running Manderley.
How does Maxim's intense pride in Manderley advance the plot of Rebecca?
Maxim's pride in Manderley causes him to enter into a dishonest and unsavory agreement with Rebecca. He will overlook her promiscuity in exchange for her ability to transform the estate into a showplace. Ironically, it is this "deal with the devil" that leads to Manderley's destruction. Rebecca's presence there is inescapable, and the marriage between Maxim and his new wife is doomed until, and even after, they leave the house behind. Since Maxim would never have left Manderley willingly, it must burn to the ground before he can find any shred of future happiness. That happiness, of course, is bittersweet, since the couple will forever mourn what they have lost. As the narrator says in Chapter 2, "The past is still too close to us."
Who is the villain of Rebecca: Maxim or the title character?
Both Rebecca and Maxim can be seen as the antagonist. Despite the fact that Rebecca is dead, her presence haunts Manderley and harries the narrator at every turn. Mrs. Danvers and Jack Favell present conflicts for the narrator and Maxim, but they do so as proxies, acting in the interests and name of Rebecca. Mrs. Danvers in particular acts as the physical representation of Rebecca's presence at Manderley by maintaining her traditions. The housekeeper confirms the narrator's fears that she is inferior to Rebecca and even tries to persuade the narrator to kill herself, saying, "It's you who ought to be dead, not Mrs. de Winter." Even after the narrator learns that Maxim loves her, Rebecca's corpse rises from the sea and, setting in motion the ruin of Manderley, foils the couple's chance for happiness. Maxim can also be seen as the antagonist. He forged a deal with Rebecca on their marriage, and then betrayed and murdered her. She was a strong, independent woman in an era and a society in which women were defined by their marital roles. Since appearance is everything to Maxim, he can't tolerate her behavior and shoots her. He provides the narrator with the social status she lacks, but to escape gossip and suspicion, he also forces her into a nomadic existence in a series of hotels. Du Maurier leaves the question of "Who is the real villain?" for readers to decide. There is ample evidence for casting either character in this role.
What role does fire play in the novel Rebecca?
The first fire in Rebecca occurs near the beginning of the novel, when the narrator burns the page from Maxim's book of poetry that was inscribed by Rebecca. After ripping up the page, with its reminder of Maxim's first wife, the narrator feels the need to complete its destruction by burning it. This small fire foreshadows the second, larger fire that occurs at the end of the novel, when Manderley is destroyed. Although the narrator and Maxim mourn Manderley, its destruction forces them to leave the past behind and allows them to believe in a future promise of happiness.
In Rebecca, how does the author justify Maxim's murder of Rebecca?
The author seems to justify the murder in two ways. First, the revelations of Rebecca's cruelty toward Maxim could be seen as justification for a crime of passion. Second, the author reveals at the end of the novel that Rebecca was dying of cancer. She suggests that Rebecca manipulated Maxim into shooting her to save herself from a long, painful death. However, du Maurier does not completely absolve Maxim, who has gone to great lengths to conceal his crime. Instead she relegates him to a kind of purgatorial exile, dooming him to wander endlessly without a home. She also dooms the narrator, who has helped cover up Maxim's crime, to make this fruitless journey with her husband.
In Rebecca, how does the narrator's relationship with Maxim develop over time?
The narrator's relationship with Maxim at the beginning of the novel is much like that of a young girl and an older male relative. The narrator hopes for Maxim's approval, and he humors and patronizes her. Feeling this condescension, the narrator wishes she were older and more sophisticated, but Maxim tells her that he prefers her as she is. Even after their marriage, Maxim continues to treat the narrator more like a child than as an equal partner. During the climactic scene at the fancy dress ball, when Maxim see the narrator in her costume, he explodes and essentially sends her to her room in disgrace. In all these ways, he can be seen as a father figure to the orphaned narrator. It is not until after the narrator learns the truth about Maxim's relationship with Rebecca that Maxim finally begins to treat his wife as an equal. However, Maxim seems saddened by her loss of innocence and says he will miss her "lost" look.
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Why does the heroine remain nameless? Is this namelessness symbolic?
Early in the novel Maxim tells the heroine, "You have a very lovely and unusual name." But the reader never learns what that name is, or what her family name was before she married Maxim and became Mrs. de Winter. This absence of a name symbolizes the heroine's uncertain identity, on which she often nearly loses her grip during her time at Manderley. In marrying Maxim she has taken a new name, and her new acquaintances address her by this name, but she cannot feel comfortable in it--for she is not the first Mrs. de Winter. Effectively, she is competing for the right to bear her title of Mrs. de Winter- -competing with a ghost, the dead Rebecca. In each of the roles denoted by that name--wife, society hostess, mistress of Manderley--she feels eclipsed by the memory of her predecessor. Indeed, it is Rebecca's name that echoes throughout the book, over and over; and her name constitutes the book's very title. For most of the novel, Rebecca is on the verge of overpowering the heroine, and the heroine seems in danger of losing herself altogether; the danger reaches its peak in the symbolic scene in which she wears the same costume Rebecca wore to Manderley's previous costume ball. Only the revelation of Rebecca's true nature enables the heroine to feel confident in being Mrs. de Winter, and in being mistress of Manderley. Only then does she learn that the name of Rebecca, the name she has heard over and over again since marrying Maxim, has denoted a mere illusion; the real Rebecca was nothing like the mythic woman to whom the heroine had ascribed the name. Now the heroine must no longer compete for her name with an unattainable perfection; she can begin to forge her identity.
Discuss the role of the Oedipus/Electra complex in the novel.
The Oedipus complex is a psychological theory that suggests that boys have a strong desire to kill their father and marry their mother. When the genders of this complex are reversed, the phenomenon takes the name "Electra complex," after a character in Greek drama who connived in the murder of her mother. It is this dynamic that plays out in Rebecca, as the heroine finds that she needs to overcome a maternal figure in order to marry the paternal figure, the older man Maxim. In fact, the story provides two such maternal figures: the first is Mrs. Van Hopper, the heroine's surrogate mother at Monte Carlo. But Mrs. Van Hopper exerts a rather weak force, and victory over her is easily won; in fact, Maxim actually defeats her on the heroine's behalf, by volunteering to reveal to her the news of their engagement. After the couple arrives at Manderley, the heroine encounters the second, and more powerful, maternal figure--a woman who was actually Maxim's wife, the ostensibly perfect Rebecca. The fact that Rebecca is dead, from the heroine's perspective, only enhances her strength: how can the heroine hope to compete with a dead woman? How does one "kill"--even in a metaphorical sense--a woman who only exists in her husband's memory? Resolution comes when Maxim reveals the truth about Rebecca: that she was wicked, and that he never loved her. From the heroine's perspective, this eliminates the figure of Rebecca as a threat to her happiness, effectively "killing" her.
Is Rebecca a ghost story? Why or why not?
On a strictly practical level, Rebecca is not a supernatural novel. All of the events that take place can be explained by natural phenomena; one need not ascribe them to witchcraft, magic, or ghosts. But the reader must not overlook the fact that one the principle characters--indeed, the title character--is a dead woman. The spirit of Rebecca remains a palpable force in the story, and Manderley can be said to be haunted by her specter: "I feel her everywhere," Mrs. Danvers tells the heroine; "You do too, don't you?" And the heroine does. In part, this is due to the fact that Manderley continues to be run just as Rebecca ran it, and to the fact that Mrs. Danvers keeps her bedroom as if ready for her return. But more than that, Rebecca's memory pervades the house and the novel. The fact that her ghost does not actively impact the events of the novel does not mean that her influence is not present; while the ghost herself may not be affecting the physical world, she has human hands to do her bidding, as it were: Rebecca's ghost does not need to go around rattling cupboards or otherwise reminding the world of her presence--in the skeletal Mrs. Danvers, with her skull-like face, Rebecca has a willing ambassador to the world of the living.