Du Maurier's novel suggests that there is a close connection between fantasy and the romance genre, as the conventional romance plot line, which is simplistic and exaggerated, does not happen in real life. In this novel, the narrator appears to be in denial, frequently hinting at details and then contradicting herself. This is evident in the narrators inner monologue and her constant fantasies where she idealizes a romantic world in which there is no conflict. "I know we are together, we march in unison, no clash of thought or of opinion makes a barrier between us."
The narrators commentary is communicated through both the events in the story and her day dreams, thus demonstrating her longing for a fantasy world. She often compares her reality to that of her fictional realm, and tries to rationalize why her romance with Maxim is different from her ideal romance, revealing a sense of dread and longing for a life more like that of the romance genre. This is very evident in the proposal scene, where her fantasy of how a proposal should be carried out, is told multiple times and often compared to what is actually being said and is happening. Maxim proposes in a very informal, business like and rude manner at breakfast, whilst she fantasizes of a romantic, moonlit, passionate proposal, 'in books, men kneel to women, and it would be moonlight. Not at breakfast, not like this.'. She is trying to reconcile the unsatisfactory circumstances of her life, with her idealized romantic notions of the ways things should be. This results in a dichotomy in her life, causing her a great deal of conflict.
The negative diction and symbolism throughout Rebecca suggests a sinister reality where things are unpleasant and quite destructive. "Nature had come into her own again and, little by little, in her stealthy, insidious way had encroached upon the drive with long, tenacious fingers" . Du Maurier uses the uncontrolled dream-scape to reveal such symbolism that the narrator...
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