Atonement Study Questions

STAGE TWO ENGLISH STUDIES

ATONEMENT STUDY QUESTIONS

PART ONE

ONE. Several viewpoints are presented within the first section of 'Atonement'. Briony, the central character of this section, presents an intuitive but naпve narration to be viewed with scrutiny. Cecilia and Robbie give a more realistic view of the world they live in, and Emily Tallis' small contribution gives the readers an insight into the impact of class on relationships.

The issue involving Cecilia's venture into the fountain is perceived differently by Briony, Cecilia and Robbie. Briony believes that Cecilia is the victim of Robbie's sexual bullying, which leads her to conclude that Robbie is capable of crime. Cecilia's removal of her clothing to retrieve the vase from the fountain is interpreted by Robbie as a blunt statement on his class; that Cecilia only views Robbie as one below her stature. Cecilia again sees the event from a different viewpoint. She is merely angry and her stubborn attempt to retrieve the vase from the fountain is born of frustration.

The differing viewpoints on this event have a foreboding effect. It is easy to see that the perspectives adopted by these characters could lead to disaster. It is made clear in this scene that a singular perception may be clouded. The differing viewpoints exemplify how easy it is to exaggerate an event or even fool yourself into believing something happened when it didn't.

TWO. Symbols are used in this section of this text to show the reality of the Tallis family. The temple is described as a point of grandeur from a distance, just as the Tallis family is viewed by their peers. But up close, the temple is degraded and disintegrating, an embodiment of pagan morals in a Christian setting. The temples hollow past is reflective of the empty morals possessed by some characters in the novel.

The vase is represented as a point of conflict. It is central in a chain of events that herald the imminent disaster. This connection depicts the flaws in Briony's judgement - both her view of the event and the vase's surface are blemished.

FOUR. The pace of the novel in the first section is so slow that it's close to a standstill. The crawling-pace narration has a sedative effect on the reader; they are drawn into the Tallis' fake, morally starved world. Every small detail is drawn out, disproportionately throwing insignificant elements into the spotlight. This is reflective of Briony's view on life; everything is a sign, or another story she can capture with a pen.

FIVE. Briony's wilful act of condemnation banishes her innocence into non-existence. She is guilty of a childish stubbornness to prove that she is right, to uphold her convictions even with the knowledge that they are flawed. Her self righteous lies are repeatedly told when she is doubted by her seniors, only embellishing her invention. Nevertheless, after many repetitions, the lies begin to form foundations and she cannot determine the line between fact and fiction. This obscures her certainty and she begins to believe her lie.

Lola is equally as guilty, if not more so. Lola has the opportunity to settle the case, to deliver the truth as she is the only real witness of the event. She has had little to do with Briony's perspective of Robbie's 'maniacal' nature, and as an older girl she has a more mature perspective on the events that have led to the suspected rape. Still, she simply let Briony's conviction "settle over her". This indicates that she is guiltier of the accusation, as she did not even consider the truth when she herself knew it well.

SIX. The issue involving the broken vase is pivotal in revealing the gaps between classes. In this section, class is questioned by not only Briony as she accuses Robbie of a vicious crime, but by Emily Tallis in her agreement and Cecilia in her desperate attempts to defend him. Briony comes to think of Robbie as a monster after a progression of misjudged events. His reliance on her family for money only spurs Briony onwards; exacerbating her fury at his apparently slimy demeanour. Emily is guilty of class segregation as she has held herself aloof, believing that it is beneath them to be involved in Robbie's financial problems. His 'betrayal' of their family makes her instantly fall into Briony's trap. Cecilia, though in support of Robbie, immediately accuses the gardener's son of the crime, rather than accusing anyone of her own social status. This is made apparent by how easy it could have been to accuse anyone but Robbie.

PART TWO

SEVEN. The well-known phrase that 'all is fair in love and war' could be used to explain the desperation, violence, despair and panic vividly portrayed in this section. The mundane can become an object of fascination, and the extraordinary can become the norm. Comments on ordinary sightings, such as a row of pens in a boy's pocket, only become more significant when those things are viewed in the context of death, destruction or panic. Honourable actions, such as Robbie trying to save the Flemish mother and child, become obsolete in the necessity of survival. Combinations of these factors create a messy, panicked scene where larceny, betrayal and abandonment are accepted as the norm.

EIGHT. The question of guilt and innocence is explored collectively throughout this section. In the last sequence of part two, Robbie somewhat hysterically recounts his guilt, not by committing obscenities, but by simply letting them happen. Perhaps the author is exploring the need for sole survival throughout war and how it affects others. For example, towards the end of the section, a man falls down the stairs during a struggle for bedding. The many soldiers around him, after finding that he has broken his back, conclude that there is nothing they can do for him. The broken soldier is left on the stairs while people step over him and struggle for the mattresses. This, while considered normal and justified in the situation of war, would be a deeply shameful act in normal society. The law indicates that individuals have a responsibility to their fellow human being to do justice, and to act with compassion to another's troubles. In a normal situation, this act would be judged by the law, and the bystanders could be even charged with manslaughter for not helping this man should he die. In war, on the other hand, an individual's responsibility is only to himself and to his cause.

NINE. The tone and pace of the novel changes dramatically in this section. The sombre mood is reflective of Robbie's attitude