62 pages • 2 hours read
E. M. ForsterA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
At the end of term, the boys and teachers at Mr. Abrahams’s preparatory school go for a walk along the coast. One teacher, Mr. Ducie, takes Maurice Hall aside during the outing; Maurice is leaving for public school, and Ducie asks what he knows about growing up. Maurice says Abrahams encouraged him to follow in his father’s footsteps, but otherwise knows little; he lives with his sisters and widowed mother, and sees few men of his own social class. Ducie says that, in that case, he will explain sex to him: “All this is rather a bother […] but one must get it over, one musn’t make a mystery of it” (14). To illustrate his points, Ducie sketches diagrams in the sand. He also praises women and the institution of marriage; Maurice says he doesn’t think he’ll marry, but Ducie laughs and says he’ll change his mind.
The pair have continued walking when Ducie suddenly stops and turns around; a group of people is approaching the place he’d drawn his sketches, and he experiences a moment’s panic before realizing that the tide has now covered them. Ducie’s fear angers Maurice, who realizes Ducie hasn’t explained sex as fully as he claimed.
Maurice returns home to the London suburbs, where he learns from his mother that the garden boy, George, recently left the family's employment. She then congratulates him on his headmaster’s report, which says he resembles his father, but Maurice abruptly begins crying.
After recovering his composure, Maurice asks the coachman, Mr. Howell, about George. Howell explains that George left to improve himself. Maurice leaves, and Howell comments approvingly on the boy’s condescending demeanor: “[The Howells] had been servants all their lives, and liked a gentleman to be a snob” (19).
The Halls have dinner with the neighboring Barry family, and Maurice goes to bed. Alone in his room, Maurice is frightened by the way the mirror reflects his shadow. He also can’t stop thinking about George, which confuses him.
Maurice’s time at Sunnington, his public school, is outwardly uneventful; he’s likeable, but unexceptional. Privately, Maurice feels confused. He’s especially troubled by two dreams. In one, he’s playing football (i.e. soccer) with a “nondescript” figure who eventually turns into George, naked and running towards him: “‘I shall go mad if he turns wrong [back into “the nondescript”] now,’ said Maurice, and just as they collared this happened, and a brutal disappointment woke him up” (22). The second dream consists simply of a face, a feeling of overwhelming “beauty” and “tenderness” (22), and a voice telling Maurice, “That is your friend” (22). Meanwhile, Maurice struggles with the physical changes of puberty. He frequently develops intense attachments to other boys, but nothing comes of them, and even Maurice isn’t sure what he’s seeking.
Before graduating from Sunnington, Maurice receives a prize for a Greek composition, which he delivers aloud at the awards ceremony: “The Greek was vile: Maurice had got the prize on account of the Thought, and barely thus. The examining master had stretched a point in his favour since he was leaving and a respectable chap, and moreover leaving for Cambridge” (25).
While the guests mingle after the ceremony, Dr. Barry approaches Maurice and asks him about his future; Maurice expects to enter the investment agency where his father worked. Barry remarks that Maurice will then likely marry and have children. Before leaving, Barry teases Maurice about shaking the hand of the housemaster’s wife: “Well, Maurice; a youth irresistible in love” (27). Maurice abruptly remembers Ducie’s lecture and becomes flustered.
Maurice’s first year at Cambridge is unremarkable; he attends the same college as a friend (Chapman) from Sunnington, and his life changes very little. He begins to mature the following year, and becomes more aware of other peoples’ inner lives, as distinct from how they behave publicly. He considers his own inner world especially “vile”: “[N]o wonder he pretended to be a piece of cardboard; if known as he was, he would be hounded out of the world” (30).
One day, Maurice and Chapman have lunch with their school’s dean. Dean Cornwallis brings along a relative—also a Cambridge student—named Risley, who speaks “continually” and “use[s] strong yet unmanly superlatives” (31). Chapman and Risley bicker throughout the meal; Risley enjoys conversation and verbal sparring, though he also insists that he means everything he says. After lunch, Risley privately disparages Cornwallis to Maurice and Chapman, calling him a “eunuch.” This shocks Chapman, but Maurice is secretly amused.
Although Maurice’s frank and sympathetic depiction of being gay made it essentially unpublishable when Forster wrote it, the novel otherwise follows a very conventional form. As a bildungsroman, or coming-of-age novel, Maurice belongs to the same literary tradition as popular 19th-century works like Jane Eyre and David Copperfield. This genre typically traces a protagonist’s personal and moral development through early adulthood, ending with their marriage. Maurice likewise spans the title character’s adolescence and early 20s, and though it can’t end in marriage, it does leave him in a committed romantic relationship.
Forster’s use of such a well-established narrative pattern is significant. In writing Maurice, Forster wanted to demonstrate that romantic love between men could end happily. The choice of genre helps normalize this then-controversial idea, treating Clive and Alec’s relationship as analogous to the happy heterosexual unions of traditional bildungsromans.
Maurice’s conventionality isn’t simply a political statement, however; rather, it reflects the main character’s own conventionality. Particularly in these first chapters, the novel defines Maurice by his very averageness, describing him as “a plump, pretty lad, not in any way remarkable” (11), a “mediocre member of a mediocre school” (21), and someone “[n]o one could be deeply interested in” (19). This characterization may in part be a challenge to the stereotypical image of the effeminate gay man (though those stereotypes weren’t as longstanding at the time).
Forster’s depiction of Maurice also bolsters the novel’s broader claims about societal conformity. Maurice is born to a comfortably middle-class family that demands both nothing and everything from him. On the one hand, he faces tremendous pressure to “grow up like [his] dear father in every way” (17)—to find a job in business or finance, marry, have children, keep the servants in their place, etc. Maurice doesn’t need to work especially hard to achieve any of this, however; he lives in “a land of facilities, where nothing had to be striven for, and success was indistinguishable from failure” (16). In this environment, the novel suggests, someone with Maurice’s generally unremarkable personality would typically lead an entirely unremarkable life; it’s only the issue of his sexual orientation that forces him to grow beyond himself and develop truly admirable character traits.
At this point, Maurice hasn’t yet recognized his attraction to men. His delay in realizing this speaks both to the power of societal heteronormativity and to his own unreflective nature; nevertheless, several passages imply that Maurice is on some level aware that he’s gay. For example, when Dr. Barry jokes about the housemaster’s wife, Maurice becomes uncomfortable as he considers her sexually: “A trouble—nothing as beautiful as a sorrow—rose to the surface of his mind, displayed its ungainliness, and sank” (28). This is one of several moments that borrow the then-new Freudian theory of the unconscious mind to depict Maurice’s experiences. Part of what Maurice learns as he matures is how to integrate his more conscious thoughts and wishes (e.g. the desire for a companion) with those that are more instinctive (e.g. the sexual desire that inspires his dream of George).
By E. M. Forster
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