Pages 226-234: Key Themes

Key Themes in Pages 226-234: Robbie’s Reflections

The narrative flits back to an event that took place three years before Part One. Robbie is suspicious about Briony's motives for accusing him.

Robbie's hope for "rebirth"

We are again taken backwards in time.
The last letter from Cecilia and its reference to Briony retracting her statement provides Robbie with the hope of “rebirth, a triumphant return” after which “the story could resume” from the moment when Robbie walked to the Tallis household and was so full of optimism. The reader is invited to imagine an alternative sequence of events in which Robbie and Cecilia are together.

Past incident with Briony

The narrative then recalls an incident which happened when Briony was “about ten years old”, 3 years before the events described in Part One. Robbie theorises that Briony’s accusation against him may stem from this incident.
At the end of this section, the mood is darker, with Robbie brooding on the “lasting damage” caused by Briony.

Robbie's "theory" on Briony

Robbie’s “theory” of why Briony accuses him revolves around an incident in the past. While by a pool, Briony deliberately falls into the water so that Robbie must dive in and save her. After the rescue, she tells Robbie that she loves him but Robbie reacts furiously.

Robbie's suspicions about Briony

Robbie suspects that “for three years she must have nurtured a feeling for him, kept it hidden, nourished it with fantasy…” (p233) and that, having seen him and Cecilia together in the library, treats this as a betrayal of Briony’s “love” for him, leading to her false accusation.
Briony will later dismiss this incident as meaningless (p342) but we should be aware that the older Briony may be looking to manipulate our responses.

Briony's retelling of the pool

It is perhaps significant that the details of the incident by the pool mirror the romantic story written by Briony in childhood about the “humble woodcutter” who saves the princess from drowning (p38).
Briony’s falling into the pool helps to re-enact one of her stories/fantasies, an early example of her blurring the line between fiction and reality.

1Introduction to Atonement

1.1Introduction & Background to Atonement

1.1.1Background to the Author - Ian McEwan

1.1.2Settings & Historical Context of Atonement

1.1.3Social Issues Raised in Atonement

1.2Focus of Your Exam: Crime Texts

1.2.1Atonement as a Crime Text

2Chapter Summaries & Analysis: Part One

2.1Chapter 1

2.1.1Chapter 1: Key Events

2.1.2Chapter 1: Key Themes

2.2Chapter 2

2.2.1Chapter 2: Key Events

2.2.2Chapter 2: Key Themes

2.3Chapter 3

2.3.1Chapter 3: Key Events

2.3.2Chapter 3: Key Themes

2.4Chapter 4

2.4.1Chapter 4: Key Events

2.4.2Chapter 4: Key Themes

2.5Chapter 5

2.5.1Chapter 5: Key Events

2.5.2Chapter 5: Key Themes

2.6Chapter 6

2.6.1Chapter 6: Key Events & Themes

2.7Chapter 7

2.7.1Chapter 7: Key Events

2.7.2Chapter 7: Key Themes

2.8Chapter 8

2.8.1Chapter 8: Key Events

2.8.2Chapter 8: Key Themes

2.9Chapter 9

2.9.1Chapter 9: Key Events

2.9.2Chapter 9: Key Themes

2.10Chapter 10

2.10.1Chapter 10: Key Events

2.10.2Chapter 10: Key Themes

2.11Chapter 11

2.11.1Chapter 11: Key Events

2.11.2Chapter 11: Key Themes

2.12Chapter 12

2.12.1Chapter 12: Key Events

2.12.2Chapter 12: Key Themes

2.13Chapter 13

2.13.1Chapter 13: Key Events

2.13.2Chapter 13: Key Themes

2.14Chapter 14

2.14.1Chapter 14: Key Events

2.14.2Chapter 14: Key Themes

3Chapter Summaries & Analysis: Part Two

3.1Pages 191-201: To the Farmhouse

3.1.1Pages 191-201: Key Events

3.1.2Pages 191-201: Key Themes

3.2Pages 202-213: The Night in the Barn

3.2.1Pages 202-213: Key Events

3.2.2Pages 202-213: Key Themes

3.3Pages 214-226: The Attack

3.3.1Pages 214-226: Key Events

3.3.2Pages 214-226: Key Themes

3.4Pages 226-234: Robbie's Reflections

3.4.1Pages 226-234: Key Events

3.4.2Pages 226-234: Key Themes

3.5Pages 234-246: To the Bridge over the Canal

3.5.1Pages 234-246: Key Events

3.5.2Pages 234-246: Key Themes

3.6Pages 246-254: Arrival at Dunkirk

3.6.1Pages 246-254: Key Events

3.6.2Pages 246-254: Key Themes

3.7Pages 254-265: To the Cellar

3.7.1Pages 254-265: Key Events

3.7.2Pages 254-265: Key Themes

4Chapter Summaries & Analysis: Part Three

4.1Pages 269-277: London, 1940

4.1.1Pages 269-277: Key Events

4.1.2Pages 269-277: Key Themes

4.2Pages 277-286: Briony as Writer

4.2.1Pages 277-286: Key Events

4.2.2Pages 277-286: Key Themes

4.3Pages 287-315: Victims of War

4.3.1Pages 287-315: Key Events

4.3.2Pages 287-315: Key Themes

4.4Pages 315-327: Lola & Paul Marshall’s Wedding

4.4.1Pages 315-327: Key Events

4.4.2Pages 315-327: Key Themes

4.5Pages 328-349: The Visit

4.5.1Pages 328-349: Key Events

4.5.2Pages 328-349: Key Themes

5Chapter Summaries & Analysis: Part Four

5.1Epilogue: London, 1999 - Pages 353-371

5.1.1Pages 353-371: Key Events

5.1.2Pages 353-371: Key Themes

6Key Character Profiles

6.1Briony Tallis

6.1.1Overview of Briony's Character

6.1.2Briony in Part One

6.1.3Briony in Part Three & Four

6.2Robbie Turner

6.2.1Overview of Robbie's Character

6.2.2Robbie in Part One

6.2.3Robbie in Part Two & Three

6.3Cecilia Tallis

6.3.1Cecilia in Part One

6.3.2Cecilia in Part Three

6.4Lola Quincey

6.4.1Overview of Lola Quincey

6.4.2Lola Relationship with Marshall

6.5Paul Marshall

6.5.1Overview of Paul Marshall

6.5.2Paul Marshall's Relationship with Lola

6.5.3Paul Marshall's Power

6.6Emily Tallis

6.6.1Overview of Emily Tallis

6.6.2Emily Tallis' Character

7Key Themes

7.1Introduction to Crime Texts

7.1.1Common Themes in Crime Texts

7.2Crimes in Atonement

7.2.1Crimes in Atonement

7.2.2Structural Patterning & Ambiguity in Crime Texts

7.3Criminals in Atonement

7.3.1Paul Marshall & Lola as Criminals

7.3.2Narrative Point of View in Crime Texts

7.4Victims in Atonement

7.4.1Lola, Robbie & Cecilia as Victims

7.4.2Females Victims & Social Class in Crime Texts

7.5Detection in Atonement

7.5.1Detection in Atonement

7.5.2Detection in Crime Texts

7.6Settings in Atonement

7.6.1Settings in Atonement

7.6.2Symbolism of Settings in Crime Texts

7.7Guilt & Punishment in Atonement

7.7.1Marshall & Briony Escaping Punishment

7.7.2Guilt & Punishment in Crime Texts

8Writing Techniques

8.1Structure

8.1.1Overview of Structure

8.1.2Metanarrative, Circular Structure & Ending

8.1.3Manipulation of Time

8.2Form

8.2.1Narrative Perspective

8.2.2Genre

8.3Symbols & Motifs

8.3.1Symbolism of the Vase & Amo Bar

8.4Language

8.4.1Focalising Through Briony & Robbie

9Context

9.1Historical Context

9.1.1The Summer of 1935

9.1.2Dunkirk, 1940

9.1.3London, 1940

9.2Social Context

9.2.1Social Class

9.2.2The Role of Women in the 1930/40s

9.3Literary Context

9.3.1Literary Genres & Atonement

10Critical Debates

10.1Marxist Literary Criticism

10.1.1Introduction to Marxist Literary Criticism

10.1.2Marxist Readings: Importance of Social Class

10.1.3Marxist Reading: Capitalist Exploitation & War

10.2Feminist Literary Criticism

10.2.1Introduction to Feminist Literary Criticism

10.2.2Feminist Readings: Gender Roles & Stereotypes

10.2.3Feminist Readings: Marriage & Family

10.2.4Feminist Readings: Male & Female Sexuality

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