Even though she is writing in the well-worn gothic pattern, Daphne du Maurier incorporates elements from other literary traditions into her novels. Both thematically and symbolically, her works are much richer than most others of their kind.
For example, Rebecca reflects one of the central motifs in literature: the expulsion from paradise. Significantly, when in the first chapters of the novel the protagonist mentions her grief, the focus is not on Manderley, the house, but instead on that area of the grounds called the Happy Valley. The house was a showplace, created by Rebecca and imbued with her evil spirit. Her presence dominated the west wing, overlooking the ocean, and it was almost as evident in the east wing, where the newly wedded couple had been placed, for their rooms had been prepared by Rebecca’s second self, Mrs. Danvers. Rebecca seemed to haunt the oceanside cottage, where she had met her lovers, and the ocean itself, whose deceptive beauty and destructive force mirrored her own being.
While in her dream the narrator does return briefly to the library at Manderley, where she and Max had some companionable moments, it is the Happy Valley that must be seen as their paradise. At Monte Carlo, when he first describes his home to his future wife, Max dwells not on the house, but on that particular area of the grounds. Even without his comments, however, the protagonist would have recognized the importance of the Happy Valley. When Max takes her there, she sees his joy, she finds...
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