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Definition of Hyperbole
Hyperbole is a figure of speech in which a writer or speaker exaggerates for the sake of emphasis. Hyperbolic statements are usually quite obvious exaggerations intended to emphasize a point... read full definition
Hyperbole is a figure of speech in which a writer or speaker exaggerates for the sake of emphasis. Hyperbolic statements are usually quite obvious exaggerations... read full definition
Hyperbole is a figure of speech in which a writer or speaker exaggerates for the sake of emphasis. Hyperbolic statements... read full definition
Chapter 4
Explanation and Analysis—Schlegels and Wilcoxes:
Howards End presents two English families, the Schlegels and the Wilcoxes, as foils that represent different social classes and types of people in early 20th century England. These differences are so extreme that they sometimes verge on the hyperbolic. When Margaret Schlegel tries to explain how she sees the Wilcoxes to Helen in Chapter 4, she says:
“I’ve often thought about it, Helen. It’s one of the most interesting things in the world. The truth is that there is a great outer life that you and I have never touched—a life in which telegrams and anger count. Personal relations, that we think supreme, are not supreme there. There love means marriage settlements, death, death duties. So far I’m clear. But here’s my difficulty. [...]
The Schlegels are portrayed as cultured and intellectual, with a focus on ideals and emotions. The Wilcoxes are pragmatic, materialistic, and conservative, with an emphasis on the “outer life” of material goods and social conventions. The Schlegels, by contrast, have difficulty picturing a life which prioritizes “telegrams and anger” over “personal relations.”
Margaret's assessment suggests that the Wilcoxes are more concerned with material wealth and status than with emotional connections or intellectual pursuits. This is a life that she and her siblings have “never touched,” a notion that is at odds with the Schlegels' idealism. However, it is not only the Schlegels who reflect on their differences. Much later in the novel Charles Wilcox also explicitly considers the way the two families approach matters. In Chapter 42 the narrator tells the reader that:
for a warm-hearted man, Charles had conveyed very little joy. As he watched his father shuffling up the road, he had a vague regret—a wish that something had been different somewhere—a wish (though he did not express it thus) that he had been taught to say “I” in his youth.
Charles Wilcox has been brought up so devoid of an “inner life” that he has never “been taught to say “I.” This exaggerated and hyperbolic language (of course, he was literally taught to pronounce "I" at some point) underscores the Wilcoxes' disregard for emotional development. There is no “I” to constitute the center of Charles’s inner life, and so he can’t express his “warm heart” even if he wishes to. In moments like this, Forster paints a picture of the Schlegels and the Wilcoxes representing two different versions of 20th century Englishness. The former family embodies intellectualism and idealism in Howards End, and the latter pragmatism and materialism.
Related Themes:
Chapter 42
Explanation and Analysis—Schlegels and Wilcoxes:
Howards End presents two English families, the Schlegels and the Wilcoxes, as foils that represent different social classes and types of people in early 20th century England. These differences are so extreme that they sometimes verge on the hyperbolic. When Margaret Schlegel tries to explain how she sees the Wilcoxes to Helen in Chapter 4, she says:
“I’ve often thought about it, Helen. It’s one of the most interesting things in the world. The truth is that there is a great outer life that you and I have never touched—a life in which telegrams and anger count. Personal relations, that we think supreme, are not supreme there. There love means marriage settlements, death, death duties. So far I’m clear. But here’s my difficulty. [...]
The Schlegels are portrayed as cultured and intellectual, with a focus on ideals and emotions. The Wilcoxes are pragmatic, materialistic, and conservative, with an emphasis on the “outer life” of material goods and social conventions. The Schlegels, by contrast, have difficulty picturing a life which prioritizes “telegrams and anger” over “personal relations.”
Margaret's assessment suggests that the Wilcoxes are more concerned with material wealth and status than with emotional connections or intellectual pursuits. This is a life that she and her siblings have “never touched,” a notion that is at odds with the Schlegels' idealism. However, it is not only the Schlegels who reflect on their differences. Much later in the novel Charles Wilcox also explicitly considers the way the two families approach matters. In Chapter 42 the narrator tells the reader that:
for a warm-hearted man, Charles had conveyed very little joy. As he watched his father shuffling up the road, he had a vague regret—a wish that something had been different somewhere—a wish (though he did not express it thus) that he had been taught to say “I” in his youth.
Charles Wilcox has been brought up so devoid of an “inner life” that he has never “been taught to say “I.” This exaggerated and hyperbolic language (of course, he was literally taught to pronounce "I" at some point) underscores the Wilcoxes' disregard for emotional development. There is no “I” to constitute the center of Charles’s inner life, and so he can’t express his “warm heart” even if he wishes to. In moments like this, Forster paints a picture of the Schlegels and the Wilcoxes representing two different versions of 20th century Englishness. The former family embodies intellectualism and idealism in Howards End, and the latter pragmatism and materialism.
Related Themes:
