By Oddvar Holmesland
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Extra info for A Critical Introduction to Henry Green’s Novels: The Living Vision
In context, they serve to exalt the Eameses' attempt to build a microcosm of private serenity by eschewing the disturbing forces around them. 'So for a time they ate supper. She sat on then looking out of window. ' The window, through which Mrs Eames sits in her kitchen, observing the macrocosm ofthe distant town, fashions a conBiet of scales between two spatial dimensions, suggesting her separation from what she sees. A conBict between close and long shots intensifies this impression. It is created when Mrs Eames shifts her attention from the outer world to the inner.
213-14) Melchiori compares this passage with an Impressionist painting and the way in which the Impressionist painters heighten 'the emotional quality of the picture by concentrating on the really significant features'. But in this case, he thinks, Green's 'Impressionism' is 'cheap', lacking a 'genuine lyrical ... 68 Melchiori's interpretation shows how traditional concepts of artistic intention (notably Impressionist) can obscure more than elarify. Green's aim here is not to create a poignant moment of lyrical intensity.
The fact that Lily takes her eyes away from the travellers and fixes them on the drooping flowers confirms the meaning just laid out. 'She gave up looking at the travellers. ' - reveals the hopelessness of their dream of settling down in the 'Promised Land'. 'He raised them up till they were upright as they grew. ' In the final analysis, the whole idea of montage builds on a view that takes life's contradictory nature into account. Eisenstein rejects a 'dualistic picture of the world' in which two 'lines' of eonfliet run 'towards some hypothetical "reconciliation" where ...
A Critical Introduction to Henry Green’s Novels: The Living Vision by Oddvar Holmesland