Cecilia in Part One

Cecilia Tallis in Part One of Atonement

We see Cecilia in Parts One and Three of the novel. In Part One, she has just returned home from Cambridge for the summer holidays. In Part Three, we see her in her lodgings in London where she works as a nurse.

Cecilia's voice in Part Two

We also hear directly from Cecilia in Part Two of the novel when Robbie re-reads her letters to him.

Cecilia's boredom

When we first meet Cecilia in Part One, she is bored and restless, “wasting her days” at home.
She does not particularly want to be there but felt “that her family was owed an uninterrupted stretch of her company” (p20), perhaps suggesting that she is a rather self-important character, spending time with her family as a favour to them.

Cecilia's distance from family

She is depicted as being rather distant from family, foreshadowing her complete break from them after Robbie is sentenced to prison. Her father remains in London and her mother “seemed distant”, even when Cecilia made the effort to bring her tea in her room. She keeps her distance from her younger sister by choice, convinced that her play will end in “calamity” (p21) due to Briony’s demanding behaviour. Cecilia seeks “independence” (p21) but is unsure about how to go about achieving it.

Cecilia's theatricality

Like Briony, Cecilia is capable of putting on a show and behaving in a dramatic fashion.
There is an air of theatre in the deliberately performative way in which she removes her skirt and blouse before entering the fountain to retrieve the broken pieces of vase. As we later learn, this show of defiance has a strong impact on Robbie.
Later, when reading Robbie’s note to her, she is careful to “adopt an expression of amused curiosity” (p111), aware that she is being watched.

Cecilia's Relationship with Men in Part One of Atonement

Cecilia is aware that there is “something between” her and Robbie (p25) but she is initially unable to interpret what it is – “she no longer understood him” (p26).

Cecilia's self-consciousness

Cecilia feels self-conscious in his presence, afraid that “she had said something stupid” (p25) when they discuss their literature studies or that Robbie may think she is speaking “in code” and flirting with him by expressing a preference for the bawdy novels of Henry Fielding.

Cecilia misinterprets Robbie

Cecilia, like Briony, misinterprets Robbie’s actions.
She feels that Robbie is “play-acting the cleaning lady’s son come to the big house on an errand” in “making a great show” (p27) of taking his boots off before entering the hall of the Tallis household.
We later learn that Robbie is only acting out of consideration for Polly who was busily washing the tiles there.

Cecilia's misreading of the rape

Cecilia is also convinced that it was Danny Hardman who had raped Lola - another misreading of events which may have stemmed from differences in social class.

Cecilia's sef-interest

Cecilia can be very self-absorbed (we see her wondering if she will end up marrying Paul Marshall) but she is also perceptive enough to recognise, and make fun of, Marshall’s arrogance.

Significance of the library

The scene in the library where Robbie and Cecilia make love is told from Briony’s and Robbie’s perspectives, but not Cecilia’s.
But in a letter to Robbie, she describes her visiting the library, finding a quiet corner and pretending to read (p205), a possible coded reference to her masturbating in the spot where she and Robbie had sex.

Role of Cecilia's love

Cecilia’s love is what sustains Robbie during the hardships suffered in prison and then in France - her simple plea to “come back” becoming a key motif in the novel.

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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