4.4.1

Pages 315-327: Key Events

Test yourself on Pages 315-327: Key Events

After reading these notes, test your knowledge with free interactive questions on Seneca — used by over 10 million students.

Key Events in Pages 315-327: Lola & Marshall’s Wedding

On a Saturday morning off work, Briony travels to a church near to Clapham Common tube station where Paul Marshall and Lola Quincey are marrying in a private ceremony.

Briony at the wedding

Briony at the wedding

Briony turns up to the wedding of Marshall and Lola and sits at the end of a pew at the back of the church.
At the sight of Lola and Marshall, Briony relives the events of the night Lola was sexually assaulted almost 5 years previously.

Quotation: Briony's memories

Quotation: Briony's memories

“She felt the memories, the needling details, like a rash, like dirt on her skin…” (p324).

Briony's feelings at the wedding

Briony's feelings at the wedding

The “needling details” suggest Briony’s discomfort at the memory of her “crime” but the imagery of a “rash” and of “dirt” recalls Marshall’s attacks on Lola in Part One.
This, in turn, suggests Briony is also a victim of Marshall, amplified by Briony’s reference to her emotional “scratches and bruises” being long healed (p325).
The paragraph ends with the blunt statement that Lola was marrying her “rapist” (p324), revealing the true villain to the reader.

1

Introduction to Atonement

1.1

Introduction & 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

1.2

Focus of Your Exam: Crime Texts

1.2.1Atonement as a Crime Text

2

Chapter Summaries & Analysis: Part One

2.1

Chapter 1

2.1.1Chapter 1: Key Events 2.1.2Chapter 1: Key Themes

2.2

Chapter 2

2.2.1Chapter 2: Key Events 2.2.2Chapter 2: Key Themes

2.3

Chapter 3

2.3.1Chapter 3: Key Events 2.3.2Chapter 3: Key Themes

2.4

Chapter 4

2.4.1Chapter 4: Key Events 2.4.2Chapter 4: Key Themes

2.5

Chapter 5

2.5.1Chapter 5: Key Events 2.5.2Chapter 5: Key Themes

2.6

Chapter 6

2.6.1Chapter 6: Key Events & Themes

2.7

Chapter 7

2.7.1Chapter 7: Key Events 2.7.2Chapter 7: Key Themes

2.8

Chapter 8

2.8.1Chapter 8: Key Events 2.8.2Chapter 8: Key Themes

2.9

Chapter 9

2.9.1Chapter 9: Key Events 2.9.2Chapter 9: Key Themes

2.10

Chapter 10

2.10.1Chapter 10: Key Events 2.10.2Chapter 10: Key Themes

2.11

Chapter 11

2.11.1Chapter 11: Key Events 2.11.2Chapter 11: Key Themes

2.12

Chapter 12

2.12.1Chapter 12: Key Events 2.12.2Chapter 12: Key Themes

2.13

Chapter 13

2.13.1Chapter 13: Key Events 2.13.2Chapter 13: Key Themes

2.14

Chapter 14

2.14.1Chapter 14: Key Events 2.14.2Chapter 14: Key Themes

3

Chapter Summaries & Analysis: Part Two

3.1

Pages 191-201: To the Farmhouse

3.1.1Pages 191-201: Key Events 3.1.2Pages 191-201: Key Themes

3.2

Pages 202-213: The Night in the Barn

3.2.1Pages 202-213: Key Events 3.2.2Pages 202-213: Key Themes

3.3

Pages 214-226: The Attack

3.3.1Pages 214-226: Key Events 3.3.2Pages 214-226: Key Themes

3.4

Pages 226-234: Robbie's Reflections

3.4.1Pages 226-234: Key Events 3.4.2Pages 226-234: Key Themes

3.5

Pages 234-246: To the Bridge over the Canal

3.5.1Pages 234-246: Key Events 3.5.2Pages 234-246: Key Themes

3.6

Pages 246-254: Arrival at Dunkirk

3.6.1Pages 246-254: Key Events 3.6.2Pages 246-254: Key Themes

3.7

Pages 254-265: To the Cellar

3.7.1Pages 254-265: Key Events 3.7.2Pages 254-265: Key Themes

4

Chapter Summaries & Analysis: Part Three

4.1

Pages 269-277: London, 1940

4.1.1Pages 269-277: Key Events 4.1.2Pages 269-277: Key Themes

4.2

Pages 277-286: Briony as Writer

4.2.1Pages 277-286: Key Events 4.2.2Pages 277-286: Key Themes

4.3

Pages 287-315: Victims of War

4.3.1Pages 287-315: Key Events 4.3.2Pages 287-315: Key Themes

4.4

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

4.4.1Pages 315-327: Key Events 4.4.2Pages 315-327: Key Themes

4.5

Pages 328-349: The Visit

4.5.1Pages 328-349: Key Events 4.5.2Pages 328-349: Key Themes

5

Chapter Summaries & Analysis: Part Four

5.1

Epilogue: London, 1999 - Pages 353-371

5.1.1Pages 353-371: Key Events 5.1.2Pages 353-371: Key Themes

6

Key Character Profiles

6.1

Briony Tallis

6.1.1Overview of Briony's Character 6.1.2Briony in Part One 6.1.3Briony in Part Three & Four

6.2

Robbie Turner

6.2.1Overview of Robbie's Character 6.2.2Robbie in Part One 6.2.3Robbie in Part Two & Three

6.3

Cecilia Tallis

6.3.1Cecilia in Part One 6.3.2Cecilia in Part Three

6.4

Lola Quincey

6.4.1Overview of Lola Quincey 6.4.2Lola Relationship with Marshall

6.5

Paul Marshall

6.5.1Overview of Paul Marshall 6.5.2Paul Marshall's Relationship with Lola 6.5.3Paul Marshall's Power

6.6

Emily Tallis

6.6.1Overview of Emily Tallis 6.6.2Emily Tallis' Character

7

Key Themes

7.1

Introduction to Crime Texts

7.1.1Common Themes in Crime Texts

7.2

Crimes in Atonement

7.2.1Crimes in Atonement 7.2.2Structural Patterning & Ambiguity in Crime Texts

7.3

Criminals in Atonement

7.3.1Paul Marshall & Lola as Criminals 7.3.2Narrative Point of View in Crime Texts

7.4

Victims in Atonement

7.4.1Lola, Robbie & Cecilia as Victims 7.4.2Females Victims & Social Class in Crime Texts

7.5

Detection in Atonement

7.5.1Detection in Atonement 7.5.2Detection in Crime Texts

7.6

Settings in Atonement

7.6.1Settings in Atonement 7.6.2Symbolism of Settings in Crime Texts

7.7

Guilt & Punishment in Atonement

7.7.1Marshall & Briony Escaping Punishment 7.7.2Guilt & Punishment in Crime Texts

8

Writing Techniques

8.1

Structure

8.1.1Overview of Structure 8.1.2Metanarrative, Circular Structure & Ending 8.1.3Manipulation of Time

8.2

Form

8.2.1Narrative Perspective 8.2.2Genre

8.3

Symbols & Motifs

8.3.1Symbolism of the Vase & Amo Bar

8.4

Language

8.4.1Focalising Through Briony & Robbie

9

Context

9.1

Historical Context

9.1.1The Summer of 1935 9.1.2Dunkirk, 1940 9.1.3London, 1940

9.2

Social Context

9.2.1Social Class 9.2.2The Role of Women in the 1930/40s

9.3

Literary Context

9.3.1Literary Genres & Atonement

10

Critical Debates

10.1

Marxist Literary Criticism

10.1.1Introduction to Marxist Literary Criticism 10.1.2Marxist Readings: Importance of Social Class 10.1.3Marxist Reading: Capitalist Exploitation & War

10.2

Feminist 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

Jump to other topics

1

Introduction to Atonement

1.1

Introduction & 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

1.2

Focus of Your Exam: Crime Texts

1.2.1Atonement as a Crime Text

2

Chapter Summaries & Analysis: Part One

2.1

Chapter 1

2.1.1Chapter 1: Key Events 2.1.2Chapter 1: Key Themes

2.2

Chapter 2

2.2.1Chapter 2: Key Events 2.2.2Chapter 2: Key Themes

2.3

Chapter 3

2.3.1Chapter 3: Key Events 2.3.2Chapter 3: Key Themes

2.4

Chapter 4

2.4.1Chapter 4: Key Events 2.4.2Chapter 4: Key Themes

2.5

Chapter 5

2.5.1Chapter 5: Key Events 2.5.2Chapter 5: Key Themes

2.6

Chapter 6

2.6.1Chapter 6: Key Events & Themes

2.7

Chapter 7

2.7.1Chapter 7: Key Events 2.7.2Chapter 7: Key Themes

2.8

Chapter 8

2.8.1Chapter 8: Key Events 2.8.2Chapter 8: Key Themes

2.9

Chapter 9

2.9.1Chapter 9: Key Events 2.9.2Chapter 9: Key Themes

2.10

Chapter 10

2.10.1Chapter 10: Key Events 2.10.2Chapter 10: Key Themes

2.11

Chapter 11

2.11.1Chapter 11: Key Events 2.11.2Chapter 11: Key Themes

2.12

Chapter 12

2.12.1Chapter 12: Key Events 2.12.2Chapter 12: Key Themes

2.13

Chapter 13

2.13.1Chapter 13: Key Events 2.13.2Chapter 13: Key Themes

2.14

Chapter 14

2.14.1Chapter 14: Key Events 2.14.2Chapter 14: Key Themes

3

Chapter Summaries & Analysis: Part Two

3.1

Pages 191-201: To the Farmhouse

3.1.1Pages 191-201: Key Events 3.1.2Pages 191-201: Key Themes

3.2

Pages 202-213: The Night in the Barn

3.2.1Pages 202-213: Key Events 3.2.2Pages 202-213: Key Themes

3.3

Pages 214-226: The Attack

3.3.1Pages 214-226: Key Events 3.3.2Pages 214-226: Key Themes

3.4

Pages 226-234: Robbie's Reflections

3.4.1Pages 226-234: Key Events 3.4.2Pages 226-234: Key Themes

3.5

Pages 234-246: To the Bridge over the Canal

3.5.1Pages 234-246: Key Events 3.5.2Pages 234-246: Key Themes

3.6

Pages 246-254: Arrival at Dunkirk

3.6.1Pages 246-254: Key Events 3.6.2Pages 246-254: Key Themes

3.7

Pages 254-265: To the Cellar

3.7.1Pages 254-265: Key Events 3.7.2Pages 254-265: Key Themes

4

Chapter Summaries & Analysis: Part Three

4.1

Pages 269-277: London, 1940

4.1.1Pages 269-277: Key Events 4.1.2Pages 269-277: Key Themes

4.2

Pages 277-286: Briony as Writer

4.2.1Pages 277-286: Key Events 4.2.2Pages 277-286: Key Themes

4.3

Pages 287-315: Victims of War

4.3.1Pages 287-315: Key Events 4.3.2Pages 287-315: Key Themes

4.4

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

4.4.1Pages 315-327: Key Events 4.4.2Pages 315-327: Key Themes

4.5

Pages 328-349: The Visit

4.5.1Pages 328-349: Key Events 4.5.2Pages 328-349: Key Themes

5

Chapter Summaries & Analysis: Part Four

5.1

Epilogue: London, 1999 - Pages 353-371

5.1.1Pages 353-371: Key Events 5.1.2Pages 353-371: Key Themes

6

Key Character Profiles

6.1

Briony Tallis

6.1.1Overview of Briony's Character 6.1.2Briony in Part One 6.1.3Briony in Part Three & Four

6.2

Robbie Turner

6.2.1Overview of Robbie's Character 6.2.2Robbie in Part One 6.2.3Robbie in Part Two & Three

6.3

Cecilia Tallis

6.3.1Cecilia in Part One 6.3.2Cecilia in Part Three

6.4

Lola Quincey

6.4.1Overview of Lola Quincey 6.4.2Lola Relationship with Marshall

6.5

Paul Marshall

6.5.1Overview of Paul Marshall 6.5.2Paul Marshall's Relationship with Lola 6.5.3Paul Marshall's Power

6.6

Emily Tallis

6.6.1Overview of Emily Tallis 6.6.2Emily Tallis' Character

7

Key Themes

7.1

Introduction to Crime Texts

7.1.1Common Themes in Crime Texts

7.2

Crimes in Atonement

7.2.1Crimes in Atonement 7.2.2Structural Patterning & Ambiguity in Crime Texts

7.3

Criminals in Atonement

7.3.1Paul Marshall & Lola as Criminals 7.3.2Narrative Point of View in Crime Texts

7.4

Victims in Atonement

7.4.1Lola, Robbie & Cecilia as Victims 7.4.2Females Victims & Social Class in Crime Texts

7.5

Detection in Atonement

7.5.1Detection in Atonement 7.5.2Detection in Crime Texts

7.6

Settings in Atonement

7.6.1Settings in Atonement 7.6.2Symbolism of Settings in Crime Texts

7.7

Guilt & Punishment in Atonement

7.7.1Marshall & Briony Escaping Punishment 7.7.2Guilt & Punishment in Crime Texts

8

Writing Techniques

8.1

Structure

8.1.1Overview of Structure 8.1.2Metanarrative, Circular Structure & Ending 8.1.3Manipulation of Time

8.2

Form

8.2.1Narrative Perspective 8.2.2Genre

8.3

Symbols & Motifs

8.3.1Symbolism of the Vase & Amo Bar

8.4

Language

8.4.1Focalising Through Briony & Robbie

9

Context

9.1

Historical Context

9.1.1The Summer of 1935 9.1.2Dunkirk, 1940 9.1.3London, 1940

9.2

Social Context

9.2.1Social Class 9.2.2The Role of Women in the 1930/40s

9.3

Literary Context

9.3.1Literary Genres & Atonement

10

Critical Debates

10.1

Marxist Literary Criticism

10.1.1Introduction to Marxist Literary Criticism 10.1.2Marxist Readings: Importance of Social Class 10.1.3Marxist Reading: Capitalist Exploitation & War

10.2

Feminist 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

Practice questions on Pages 315-327: Key Events

Can you answer these? Test yourself with free interactive practice on Seneca — used by over 10 million students.

1
Who does Briony say Lola is marrying at the wedding ceremony?Multiple choice

Answer all questions on Pages 315-327: Key Events

Unlock your full potential with Seneca Premium

Unlimited access to 10,000+ open-ended exam questions
Mini-mock exams based on your study history
Unlock 800+ premium courses & e-books

Get started with Seneca Premium

Pages 287-315: Key Themes

Pages 315-327: Key Themes