The driving force behind the actions of this book's characters is loyalty. This is seen most clearly in the characters of Frank Crawley, the business manager of Manderley, and Frith, the head butler. Crawley expresses his loyalty by being congenial, never shying away from a topic of conversation and yet never expressing exactly what he thinks either. Mrs. de Winter can sense that Crawley is on her side, but she also knows that he will not be completely honest about what he thinks of Rebecca because his sense of loyalty to Maxim would forbid it. Frith is just as deeply loyal, but it is easier for him to keep up his attitude of detachment because, as a servant, he is not involved in family matters nor expected to know about the de Winters' affairs anyway.
Like Frith, Mrs. Danvers is a family servant, but her sense of loyalty makes her negligent in her duty. She is loyal to Rebecca, the dead member of the family, and, in her attempt to preserve Rebecca's memory, she is disrespectful to the current Mrs. de Winter. At first, her loyalty appears as just an annoying, but almost respectable, personality tic, as when she tells the narrator that certain practices are followed because "that is the way Mrs. de Winter wants it done," ignoring the fact that the person she is talking to is now Mrs. de Winter. After the costume ball, her hostility becomes open, and she tries to capitalize on the narrator's grief at her inability to fit in by urging her toward suicide, because "You tried to take Mrs. de Winter's place." In the end, her loyalty to Rebecca's memory makes it impossible for Mrs. Danvers to accept that the new Mrs. de Winter and Maxim can be happy together, so she burns Manderley down.
The narrator's greatest concern, however, is her suspicion that, despite having married her, Maxim is loyal to the memory of Rebecca. She reads his moodiness to mean that he is still grieving over his lost wife. His refusal to use the bedroom that he used with Rebecca, his refusal to go near the cottage Rebecca used, and his anger at seeing her wear the same costume Rebecca wore all seem like signs that he is not willing to give up the memory of her. In the end, when he admits to having actually hated Rebecca and killed her, the narrator does not even think of leaving him because he is a murderer; she stays loyal to him throughout the investigation because she loves him.
Flesh versus Spirit
Part of the narrator's sense of inferiority results from the fact that she is competing with the memory of a dead woman. Her sense of what Rebecca was like builds up slowly from isolated clues: the inscription in a book, her formal agenda left in her desk, Mrs. Danvers' description, and the descriptions of all of the people who knew her. The most uncomfortable comparison comes from Maxim's grandmother who, at eighty-three, is senile and unpredictable: in the middle of their conversation, she loses touch with reality and calls out, "I want Rebecca, what have you done with Rebecca?" There are several practical reasons that the...
(The entire section is 1250 words.)
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With the now famous opening lines of Rebecca — "Last night I dreamt I went to Manderley again" — du Maurier begins her exploration of the relationship between the past and present. For Maxim and his second wife, the two protagonists, the past and the present are inextricably linked. The second wife's insecure past leads her to feel insecure in her new marriage, and Maxim's past relationship with Rebecca damages his relationship with his new wife. Manderley, Maxim's family home, most clearly symbolizes the relationship between the past and present. Because Rebecca can make Manderley beautiful, Maxim endures a marriage he hates. Ironically, though, his obsession with glorifying his heritage leads to Manderley's destruction. The novel suggests that clinging to the past or trying to escape the past are both dangerous. As the second wife learns, one achieves an uneasy truce with time only by remembering the past while living firmly in the present.
Another theme in Rebecca concerns the battle between good (represented by Maxim and his second wife) and evil (Rebecca and Mrs. Danvers). Good wins out by the end of the story, but Maxim and his second wife carry permanent scars as a result of their encounter with evil. Interestingly, du Maurier shows that passive, naive goodness cannot defeat evil. When the second wife is timid and guileless, she unwittingly helps the forces of evil. It is only when she herself becomes strong that she can help Maxim defeat...
(The entire section is 380 words.)