@article{oai:nagoya.repo.nii.ac.jp:00028081,
 author = {恒川, 正巳 and Tsunekawa, Masami},
 journal = {IVY},
 month = {Nov},
 note = {In his lecture on Virginia Woolf, E. M. Forster observed that poetry was the defining feature of her novels and that her problem as novelist lay in the difficulty of creating truly living people. While he proclaimed himself the kind of reader who was fond of "life" in the novel, creation of enduring characters was not the ultimate aim for Forster either, and he preferred to make his novels something more than the sum of distinctive characters. Instead of allowing full realistic presence to his characters, he rather made them abstract and schematic to a certain extent in order to make them fit in with the structure and theme of the novel. This tendency is more obvious in Howards End than any other novel by him. The repeated use of some images should be noted here. Images such as "motor," "goblin," "gray" and "abyss" play a part almost as consistent and complicated as the main characters. They recur and spread over the novel, the same images coming up in the consciousness of more than one character. The imagery foregrounds important themes and suggests complex ideas to shape the novel overall, though its predominance undermines the distinctive individuality of the characters. In this essay we explore the way the image "gray" relates to characters, motifs and some other dominant images in Howards End. It works as a focal image, denoting what Margaret Schlegel has to confront in her admittedly unrealistic but still valiant attempt to bridge the damaging divide between the Schlegel and the Wilcox values. Gray corresponds to three important motifs: the gloomy squalor of lower middle class, the emptiness of the wealthy upper middle class, and the menace of the fatalistic sameness. Leonard Bast is enclosed in poverty. He tries to be a cultivated gentleman as best as he can, but the fear of economic ruin is always with him. Although she is safe enough, Margaret is sensitive to the impingement of poverty on human relationships. In both cases, poverty is pictured as gray waters, and the image of "abyss" conveys a horror of economic and social fall. Along with "cosmopolitanism" and "motor," gray stands for the people who are called "the Imperialist" in the novel. Interestingly, gray is the colour of the wealthy Wilcoxes here, who live far above Leonard Bast and scarcely care about people like him. In spite of a considerable economic difference between them, both the Wilcoxes and the Basts speak the same language of socio-economical fatalism, which threatens Margaret's ideal of personal relationship. Gray reflects Helen Schlegel's cynical determinism too. She once falls in love with the sturdy insusceptibility of the Wilcox business mind, but in a very short time she realizes their spiritual emptiness. Shocked and deep in despair, she swings to an extreme of pessimism, according to which individuality is nothing but an illusion, trapped by the instinctive and collective fate of humanity. This attitude of Helen betrays the Schlegel faith in personal relationship and endangers the bond between the sisters.},
 pages = {1--18},
 title = {灰色の世界 : E.M. フォースター『ハワーズ・エンド』論},
 volume = {40},
 year = {2007}
}