Table of ContentsIntroductionThe Role of Names and Titles in Stevens' Loss of IdentityThe Symbolism of the WardrobeStevens' Interactions with Miss Kenton and her fatherThe Parallel Chambers: Symbolism of Conformity and SubmissionConclusionIntroductionThe novel "The Remains of the Day" by Kazuo Ishiguro offers an in-depth exploration of the multifaceted concept of dignity. The central character, a demanding butler named Stevens, is determined to become an exemplary and dignified servant, a quest he believes is only achievable through unwavering composure and professionalism. However, as he embarks on a thoughtful automobile journey, the layers of self-deception and disillusionment woven into this ideal become increasingly evident. Through Stevens' interactions with personal elements, including his name, living quarters, and dress, Ishiguro subtly highlights the harmful consequences of excessive propriety and restraint, emphasizing the erosion of individuality and the deprivation of human warmth and affection that can result. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay The Role of Names and Titles in Stevens' Loss of Identity Ishiguro skillfully uses the use of names to illustrate how Stevens' profession and ideals were entirely subsumed. his self-esteem. In the context of pre-World War II England, where a rigid social hierarchy prevailed, names are emblematic of a person's status and position in society. As a butler serving the English elite, Stevens was perpetually required to adhere to the strict protocol governing the use of titles, which created in his mind an indelible link between names and dignity. Additionally, his daily interactions with the titles reinforce his identity as a subordinate of lords and gentlemen. Immersed in the hierarchical environment of England, it is impossible for him to remove his identity from his profession. This deep-rooted association between names and honor is illustrated in his rebuke of Miss Kenton, the housekeeper of Darlington Hall, for not calling her father Mr Stevens Senior: "Miss Kenton, your tone suggests a lack of attention to my father. If you had observed him closely, you would have recognized the impropriety of addressing someone of your age and rank as 'William'" (54). Although, strictly speaking, Miss Kenton occupies a higher position in the household as head of household compared to Stevens' father, who serves as underbutler, Stevens takes issue with the use of first names in this context. This incident highlights Stevens' creation of an alternative hierarchy based on his own perception of honor and dignity. He states that his father's ability to maintain his composure and retain his personal opinions, even in distressing situations, is what allows him to "demonstrate dignity consistent with his role" (42). According to Stevens, this ability transcends the traditional family hierarchy. Additionally, Ishiguro points out how Stevens favors the use of surnames because they imply a certain level of dignity in the person being referred to. This preference is particularly evident since the novel is narrated in the first person and Stevens is addressed exclusively by his last name. The deliberate omission of his first name underlines his unwavering attachment to formalism. As its name symbolically loses meaning due to its constructed notions of a system basedon honor, his individuality diminishes accordingly. By hiding his first name, Ishiguro accentuates the immediate emotional distance that exists between Stevens and those he meets. Lack of familiarity not only reinforces the boundaries of one's rank and status, but also hinders genuine emotional connections with others. Wardrobe Symbolism Additionally, Ishiguro skillfully uses Stevens' unvarying wardrobe to illustrate his unwavering commitment to propriety, a commitment that ultimately prevents him from expressing a wide range of human emotions and build meaningful relationships. Stevens, in his reflection on the qualities of a great butler, equates the attributes of a butler to the way one should wear a suit. He states that “Great butlers are great in their ability to inhabit their professional role and to live it to the fullest; they will not allow themselves to be shaken by external events, however surprising, alarming or vexing they may be. They wear their professionalism as an honest gentleman will wear his suit: he will not let thugs or circumstances rip it off in the public eye... It is, as I say, a question of "dignity" ( 42-43). In his quest for dignity, Stevens associates the suppression of emotions with being a "big butler." To maintain his self-described dignity, he must always maintain a stoic and imperturbable attitude, thereby inhibiting his personal expression. Stevens strives to compartmentalize his identity, distinguishing between Stevens the individual and Stevens the butler, drawing an analogy between “living in your professional role” and always wearing a suit. Furthermore, this analogy is reinforced by the fact that his wardrobe consists exclusively of professional attire, with no provision for "proper traveling clothing" (10-11). This serves to emphasize that he is perpetually ensconced in the role of a butler, constantly striving to uphold his ideals of dignity. This also implies that his existence is limited solely to his professional duties, devoid of any personal life or casual activity. His daily ritual of donning costumes symbolizes adopting the persona of an emotionally detached butler, thereby rejecting any expression of vulnerability and emotions and remaining solely focused on his responsibilities. Stevens' interactions with Miss Kenton and her father Ishiguro uses Stevens' interactions with Miss Kenton. and his father to further highlight how his unwavering commitment to his professional role hinders genuine connections with those close to him. When Stevens visits his ailing father, who recently suffered a stroke, he maintains an impersonal tone despite the dark and emotionally charged nature of their conversation: "'I'm proud of you. A good son. I hope I've been a good father to you, I guess not "I'm afraid we're extremely busy at the moment, but we can talk again in the morning My father was still looking at his hands like he was." was slightly irritated by it” (97). Before that, Stevens' interactions with his father revolved exclusively around work-related matters. This is the first time one of Stevens' men has attempted to openly convey his emotions. However, Stevens' inability to reciprocate results in an awkward and emotionally distant exchange. Although this is a crucial opportunity to deepen his relationship with his father, the rigid façade of professionalism embodied by his trial effectively prevents his father's words from reaching the heart of Stevens, the son. Despite the seriousness of the situation, Stevens dismisses his father's expressions. regrets and casually suggests resuming their conversation the next dayMorning. Ishiguro highlights the disconnect between Stevens and his father by symbolically referencing Stevens Senior's hands. The dual symbolism of the hands, representing both menial labor and familial love, serves to illustrate the two main sources of regret in Stevens Senior's life. His agitation stems from the fact that he has not been a "good father", having used his hands mainly to serve others rather than to express affection towards his son. Despite witnessing the consequences of excessive propriety and restraint throughout his father's life, Stevens stubbornly clings to these misguided notions of dignity. Another example illustrating Stevens' inability to maintain meaningful relationships occurs when Miss Kenton informs him of her engagement and the possibility of his resignation. In response to her revelation, Stevens remains emotionally detached, offering congratulations while dismissing the significance of her news: "'Miss Kenton, you receive my warmest congratulations. But I repeat, matters of global importance are taking place upstairs, and I must return to my post” (219). Stevens suppresses his feelings for Miss Kenton and feigns indifference to her announcement. When he discusses "matters of world importance," he is essentially reassuring himself of the primary importance of his role as butler, implying that his feelings for Miss Kenton should be subjugated for the greater good. Stevens consistently resorts to his butler duties whenever he is faced with situations that might require him to reveal his emotions. The costume that represents his butler character prevents him from assuming any other role, whether that of son or companion. Additionally, in both of these storylines, Stevens misses opportunities, whether it be his father's death or Miss Kenton's resignation. This inaction leads to unresolved relationships and a persistent desire to move on, particularly in the case of Miss Kenton. His suppression of his emotions, coupled with his unwavering commitment to his professional duties, compels him to embark on a cross-country journey to ascertain whether Miss Kenton is truly satisfied with her marriage (238). Alongside his father's fate, Stevens's rigid devotion to his ideals thwarts his prospects for love and affection, leaving him in a state of loneliness and regret. between the rooms of Stevens and his father to highlight how their defining characteristics stem from their respective roles at Darlington Hall. When Miss Kenton first sees Stevens' room, she remarks, "But surely, Mr. Stevens, there is no need to keep your room so austere and devoid of color." » “It has served me perfectly well thus far, Miss Kenton” (52). Stevens' room functions simply as a utilitarian space that he can inhabit after work hours, devoid of any personal or homey touches. Ironically, when he discovers his father's room, which is very similar to his own, he perceives it as a prison cell: “I was recently struck by its smallness and austerity. Indeed, I remember that my impression at the time was of having entered a prison cell, but that perhaps had a lot to do with the pale light at the beginning, as with the size of the room or the nakedness of its walls” (64). The resemblance between Stevens' rooms and those of his father is undeniable, but Stevens remains oblivious to the parallel, unable to recognize that he himself is imprisoned by his rigid notions of dignity and honor. Additionally, both rooms offer little insight into the personalities of their inhabitants. , and their austerity testifies to the way in which both men are,.