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Emotionally, Bendrix is an extremist. He lacks the emotional maturity to feel anything moderately; he is either madly in love with Sarah or he hates her passionately. The only topic about life to which he is indifferent is religion. Bendrix's arrogance is apparent throughout the novel. It is evident in his dealings with people, and it is also apparent in his assumption that because God is his rival for Sarah's affections, he can easily win her back. He believes that the tangible love he can offer will be more appealing than abstract promises of salvation or redemption. Henry is Sarah's hapless husband.

Bendrix originally wanted to research Henry's life as a civil servant for a book he was writing, but the book was never finished. Henry is oblivious to his wife's affair until Bendrix has her investigated by a private detective. When Henry figures out that his wife and Bendrix were once involved with each other, his response is calm disappointment. Upon Sarah's death, Henry calls Bendrix and the two become unlikely friends. Henry is a pleasant, but introverted man who lacks the passions that color Bendrix. Sarah is Henry's wife and Bendrix's lover.

Her love relationship with Bendrix is complicated. She is hesitant to talk of their love when he asks, yet she sometimes surprises him by saying that she loves him deeply. While she seems to find in Bendrix what is missing in her marriage with Henry, she is not open about it. Sarah is a person of pleasure and selfishness until she has a traumatic experience during which she vows to God that she will be virtuous if He will save Bendrix. While before this experience she thought little of how her affair might hurt her husband, her bargain with God forces her to look deep inside her morality.

She emerges from her spiritual struggles a stronger, more loving and virtuous woman. Not only does she refuse Bendrix's advances after her vow, she also prays that he will be given the same spiritual peace she has found. After attaining spiritual resolution, Sarah seeks to deepen her faith. She debates with a rationalist man about the existence and nature of God, and she tells a priest that she wants to become Catholic.

Her personal growth is cut short, however, when she dies from pneumonia after fleeing into bad weather to escape Bendrix. After her death, a series of miracles are attributed to her, and she ascends to the level of saint in the eyes of those who knew her. Critics have commented that Sarah's life story reads like that of a saint's life; she abandons a life of mortal pleasures to devote herself to God, dies unjustly, and performs loving miracles on Earth.

Parkis's son, Lance, accompanies Bendrix on his trip to the Smythe's house to try to discover the nature of Richard Smythe's relationship with Sarah. Because his father involves him in detective work, Lance is a suitable actor to pretend to be Bendrix's son. Lance is also the recipient of one of Sarah's miracles. Lance is named after Sir Lancelot from Arthurian legend. Parkis named his son Lance because he mistakenly believed that Lancelot was the knight who found the Holy Grail. Parkis is hired by Bendrix to discover whether Sarah is having an affair.

The investigation takes place after Sarah's relationship with Bendrix has ended. Parkis is congenial enough but inefficient. He involves his young son in his business, which creates comic moments in the novel. Richard Smythe is an acquaintance of Sarah; she contacts him during her spiritual struggle.

After her vow to give up her affair, she wants to rationalize a way to continue her relationship with Bendrix, so she contacts Richard. He is a rationalist someone who believes only in what the intellect can perceive, not in tradition or authority who has an impressive library and engages in spirited debates with her. His efforts to convince her that God does not exist, however, only serve to bolster her belief that He does. Richard has "livid spots" on his left cheek, but they miraculously disappear after Sarah's death.

Because this was something about which she felt compassion, he assumes that she is responsible for the miracle. The opposing themes of love and hate run throughout The End of the Affair as Greene sets them up to shed light on each other. Ultimately, he demonstrates that hate can be the surprising precursor to love.

At the same time, he depicts the cruel realities often associated with love and hate. After all, Sarah chooses love divine and dies, but Bendrix chooses hate earthly and is still alive at the end of the novel. The choices these characters make represent the two kinds of love in the novel: divine love, which is selfless; and romantic love, which is selfish and can easily turn to hate. Bendrix knows only romantic love, and he knows it only for Sarah. After she ends their relationship, he does not seek a new woman for his life.

Instead, he alternates between love and hate for her. When they are involved, he loves her, but when she stops seeing him, he hates her. Then when he thinks he has a chance to win her back, he loves her again. When she dies, he claims to love her, but his actions tell a different story. His love is so confused by romantic selfishness that he ignores what he can infer about her burial wishes and insists that she be cremated, which according to Catholic faith, would be unpleasing to the God who took her from him.

Sarah, on the other hand, sacrifices romantic love for divine love. Although she began the affair in pursuit of romantic love, even at the cost of her morality, she is surprised to find herself giving it up to fulfill a desperate promise made to God. Sacrificing the affair leads Sarah to the other kind of love presented in the novel, divine love.

After an intense spiritual struggle to truly give up her romance with Bendrix, she finds herself at peace because she has accepted the love of God. She finds that this love renews her, whereas her love for Bendrix was sinful and unhealthy. In fact, she concludes that her love for Bendrix was merely a stop on the way to the divine love that awaited her. In her diary, she writes:. Did I ever love Maurice as much before I loved you? Or was it You I really loved all the time?

Secret Love Affair OST

He was on Your side all the time without knowing it. You willed our separation, but he willed it too. He worked for it with his anger and his jealousy, and he worked for it with his love. For he gave so much love and I gave him so much love that soon there wasn't anything left, when we'd finished, but You. Whether or not they are aware of it, the divine plays a role in the characters' lives. Sarah prays to God in a panicked moment, pleading for Bendrix's life and promising to abandon her immoral ways in return. When Bendrix walks into the room, she is convinced that her prayer has saved him and she makes good on her promise.

For Sarah, this incident is unquestionably a moment of divine intervention. The spiritual struggle that follows is also an example of the divine shaping her life. She realizes that she cannot attain spiritual peace alone, and she submits to the will of God and feels the change in her life. After Sarah's death a series of miracles occurs, seemingly because of her status in heaven. In the Catholic tradition, a person is not canonized declared a saint by the Catholic Church unless a miracle is attributed to him or her.

This implies that Sarah is a saint or is eligible for such divine status. Her ability to perform miracles after her death represents her divine influence in the lives of the people she once knew. The presence of Bendrix's demon also alludes to the divine world. As a devout Catholic, Greene is likely familiar with the position of St. Augustine , a first-century bishop and theologian whose teachings are regarded as among the most important in Catholic theology. Augustine taught that evil is present in the mere absence of God. This is relevant to Greene's novel because Bendrix makes repeated references to his demon, which seems to appear and talk him into doing and saying things that are hateful.

According to Augustine, the intervention of this evil presence would be evidence of Bendrix's separation from God. Bendrix narrates in first-person for most of the story, acknowledging that he alone holds the power to tell the story and that he will control its presentation. At the beginning of the book, he explains that he is shaping what is purported to be a true story. However, interpreting situations according to his personal feelings and cynicism renders Bendrix an unreliable narrator.

He allows his negative feelings to color his telling of the story at almost every turn. As the story unfolds, then, the reader may sense that Bendrix is working out his feelings and processing his experience. This suggests that Bendrix only thinks he is controlling the plot, when in fact his emotional response to the events of the book evolves from hatred to understanding as he reflects on the details. The best example of Bendrix's progression is his assertion that the book is a record of hate, a claim he makes at the beginning of the book. His perspective changes, however, as he gets deeper into the story.

For example, in book two, chapter two, he admits, "When I began to write I said this was a story of hatred, but I am not convinced. Perhaps my hatred is really as deficient as my love. When I began to write our story down, I thought I was writing a record of hate, but somehow the hate has got mislaid and all I know is that in spite of her mistakes and her unreliability, she was better than most. Once it is clear that Bendrix is less reliable than he thinks he is, the reader is able to begin drawing independent conclusions.

The reader questions Bendrix's version of events in the story. Furthermore, Greene provides other narrative forms within Bendrix's first-person account. This enables the reader to better understand the themes and conflicts of the novel, of which Bendrix is only part. These techniques include flashback, letters, Sarah's diary, and dreams to help the reader see beyond Bendrix's perspective.

Sarah's diary is an important part of the narration because it forms a first-person narrative within the first-person narrative. Presumably, Bendrix is deciding which passages he will reveal to the reader, but Sarah's voice and her side of the story still come through. Her struggle, her pain, and her honesty assure the reader that she is a reliable narrator. Because it is a diary that was intended to be private, it contains truthful versions of Sarah's thoughts and experiences.

Having no close friends and unable to confide in either her husband or her lover, Sarah turned to her diary to express and explore her feelings. Greene uses time shifts to put his story in a broader chronological context and to offer the reader background information and Sarah's point of view. The novel itself is a time shift, as the narrator is telling the story of events that happened in his past.

Within the story, the narrator also uses flashbacks to tell the reader about his romance with Sarah and his emotional reaction to their breakup. In addition, Sarah's diary and her letter to Bendrix are time shift devices that allow the reader to understand the inner experience of a character who has died by the time Bendrix is telling his story. Without Sarah's writings, the reader would never know about her deep personal struggles and her profound sense of peace. The modernist period in English literature began in with the onset of World War I and extended through It is a literary period that reflects the nation's wartime experiences World War I and World War II , the emerging British talent of the s, and the economic depression of the s.

Toward the end of the period, literature and art demonstrated the nation's growing uncertainty, which became especially pronounced after World War II; this uncertainty would give way to hostility and protest in the postmodernist period. During the early years of the modernist period, the foremost writers were English novelists E. One of the major accomplishments of this period came from Ireland with the publication of James Joyce 's Ulysses , a work that continues to be respected as a masterpiece of twentieth-century literature. In the s and s, the novels of D. Lawrence and Evelyn Waugh were harshly critical of modern society, an attitude shared by many English men and women of the day.

In the s and s, novelists such as Greene wrote traditional fiction that was well-crafted enough both to stand up to innovative fiction of the day and to gain a wide and loyal audience. Many writers of this period Greene included were born at the turn of the century, near the end of the Victorian era.

These writers were reared in an environment of romanticism, which often meant leading a relatively sheltered childhood that left them ill-prepared for the realities of adult life. This background, combined with events of the first half of the twentieth century, led writers such as Greene to question the values of their past and to reevaluate the world in which they lived as adults. This is seen in Greene's fiction as he explores morality and creates characters who possess the capacity for both virtue and vice. Britain, however, refused to yield. Under the new leadership of Prime Minister Winston Churchill , Britain was determined to fight Germany, despite heavy losses of artillery and the unwillingness of Russia to get involved.

After Germany took France, the United States , not yet involved in the war, began fortifying its military personnel and budget. In June, Germany initiated submarine warfare to prevent goods from going into or out of Britain. Hitler planned to invade Britain but would not do so until the British air force had been substantially weakened. In August , the Battle of Britain began, with Germany hoping to decimate the British mil-itary and British resistance to keep control of their land.

The Germans began with daytime air raids of ports, radar stations, and airfields, moving to inland cities in late August.

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The first targets of inland raids were Royal Air Force installations and aircraft manufacturers. Germany had hoped to draw out the English military and destroy it, but the combination of radar technology and the ability of the English to see German planes in the daylight compromised their objectives. Germany's failures with daytime raids led them to begin nighttime raids on September 7. Such nighttime raids were very intensive, involving massive attacks from as much of the military resources that Germay could thrust at England. This type of concentrated, suprise offensive aimed at overwhelming the enemy with one big blow is known as a blitzkrieg.

The British fought hard and used new radar technology to strengthen their position. By the end of October, the German bombing of England diminished and eventually ended. The German military lost twenty-three hundred aircraft in the Battle of Britain; the British military lost nine hundred. In the years following the Battle of Britain, the frequency of nighttime air raids on England was erratic.

It was one of the later raids that occurred when Bendrix and Sarah were together and she thought he had been killed.

Love Affair, Theme from: String Orchestra Conductor Score & Parts: Ennio Morricone

The infrequency of the raids compared to the recent past is evident in Bendrix's comment: "We had become unused to air raids. Critical response to The End of the Affair has been overwhelmingly positive. Critics praise Greene's complex thematic presentation, astute characterization, and complex narrative style. In a review that was printed the year the novel was published, George Mayberry of New York Times describes the novel as "savage and sad, vulgar and ideal, coarse and refined, and a rather accurate image of an era of cunning and glory, of cowardice and heroism, of belief and unbelief.

Many critics comment on the novel's strong religious theme. Richard Hauer Costa in Dictionary of Literary Biography , Volume British Novelists, — asserts that the theological elements in the novel are intimately connected to the characters' human emotions. He writes that Green "can write a powerful love story on two levels—the earthbound and the divine—while making each level reinforce the other.

Costa explains, "The journal entries of Sarah Miles in The End of the Affair show her infidelity with Bendrix pitted against God's will in such a way as to make God an actual character. Critics frequently remark on the strong Catholic nature of the novel. DeVitis in Twayne's English Authors Series Online , for example, finds it to be the most Catholic of Greene's books, "in the narrowest sense of the definition.

Bergonzi also observes that the novel has a strong Catholic disposition, "disconcertingly so for some humanist readers, just as the emphasis on sex disturbs some of Greene's devout Catholic readers. Besides the substance of the book, critics are also impressed with the style of the storytelling.

The End of the Affair

Mayberry observes that because the main character and narrator is a writer, like Greene, the novel reflects a "command of language," adding, "His cocktail party chit-chat, his fumbling man-to-man conversations, his not-to-be-overheard mutterings between lovers are concrete and probably univer-sal. DeVitis also praises the way Greene places characters in context with one another:. Greene's use of the diary and of the journal allows him not only to characterize his people but also to portray the various levels of meaning of the spiritual drama enacted.

Bendrix looks at Sarah; Sarah looks at herself as she looks at God. The Bystanders look at Sarah, and she leaves her mark on them. Although critics deem the book a great accomplishment, they also note its shortcomings.

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In an analysis of the two main characters, DeVitis concludes, "One of the flaws of the novel is quite simply the fact, sexual matters excluded, that it is difficult to understand why Sarah loves [Bendrix]. He writes that "Greene's fixation on suffering seems masochistic, morbid; certainly the notion that religion should be nothing but suffering is as distasteful as the notion that it should be nothing but sweetness and light. Greene displays his usual distinctive flair for words and atmosphere.

His precise, carved sentences fit together like stone blocks which require no mortar. But his author's hands jerking his puppet strings are always noticeable. He is not content to demonstrate his thesis with one religious conversion. He adds two more, both of them even more unlikely. He even makes use of several near miracles.

It is too much. The End of the Affair is not only unconvincing; it is dull. Bass Saxophone. Tuned Percussion. General Percussion. Ethnic percussion. Folk instruments.

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