#maurice and clive

[batri-jopa]

Maurice by E.M. Forster - Notes by David Leavitt:

The most sustained criticism of Pianola in literature comes in Forster's posthumously published novel Maurice. Here Clive Durham, the boy with whom Maurice falls in love up at Cambridge, is found in chapter six sorting out 'a castle of pianola records' of the march from Tchaikovsky's Pathétique; then, when he goes to play them, a mutual friend tells Maurice, 'You should get away from the machine [Pianola]' - and therefore Clive himself - 'as far as you can'. The Pianola manufactures music in the same way that Clive 'manufactures' heterosexual passion (which consequences less outwardly disastrous for him than for Tchaikovsky). That the way one makes music - or connects to music - signifies one's values in Forster's work is illustrated beautifully when Maurice meets Alec Scudder at Penge: together they move a real piano from under a leak in Clive ancestral home. This instrument, like their relationship, is the genuine article, and worth protecting from the decay of that society. The instrument itself embodies virtue.

[indigomood]

Maurice (1987) dir. James Ivory

[zanephillips]

Maurice (1987) dir. James Ivory

[batri-jopa]

I love this analysis.

Though for aromantic-asexual person like me it feels a bit shocking to consider sexual intercourse as a first step to the meaningful relationship and not the other way around... But obviously Maurice and Alec were not strangers to each other. And if to look closely - there was in fact great potential for the meaningful relationship between them right from the start, if not for high level of prejudice at Maurice's side. He did realize that "the young man with bright brown eyes" is more attractive in his eyes than any woman around - but on conscious level he rejects the feeling. If it was only same-sex attraction but among his own class - maybe he would feel different about it? Maybe if it was only the lower class problem but not the same-sex - he might act differently? But it was both and so he consciously decided to treat any feeling toward Alec as not only perverted but also degradating to him as gentleman. He forces himself to be either indifferent or angry to any sign of Alec's friendliness (wishing "Happy Birthday", refusing the tip, running to see his car, baling out the boat). Only that his body and his subconsious self knew better and the "Russet Room scene" proved this - it would never happen if he really honestly despised it, right? It proved that any barrier between them was actually only a socially made-up bullshit - but before "British Museum" Maurice still fights to agree with that truth.

Alec's attitude is different. Initially he was not sure about the classes as well (saying few times he "have never come like that to a gentleman before"). But then he works it out much quicker than Maurice: repeating "I come from respectable family", "don't treat me like a dog" and emphasizing their equality at this matter.

As for the "flesh educating the spirit": Alec was much faster to recognize what's really natural and what is not, maybe because he was somehow closer to the nature? He must now gradually teach Maurice to recognize what natural is, even when speaking about swimming: "I was taught I'd be ill if I didn't wet my hair" said Maurice - "Well, you was taught what wasn't the case" answers Alec.

Maurice was more "muddle headed" and it's hard to really blame him for that. As a gentleman all his life he could only believe what he was told. And whoever of his class he would ask - his "tendency" was always said to be unnatural. It sure wasn't helpful that the only other person he knew reciprocating his feelings (Clive) also treated any such body-needs as unnnatural. And then the one-sided "lust" toward Dicky was the final prove for Maurice that what he experiences is nothing but sick.

So it is true that in the Russet Room his body could "teach his spirit" what his actual nature is . Then the doctor also speaks about "accepting human nature". And finally - Maurice gets it clearly when the king and queen are passing before him:

"he despised them at the moment he bared his head. It was as if the barrier that kept him from his fellows had taken another aspect. He was not afraid or ashamed any more. After all, the forest and the night were on his side, not theirs; they, not he, were inside a ring fence."

In other words - Maurice's realizes that his side (and Alec's) is natural order of things while higher class ("king and queen") is not.

When you get so irked by someone saying that "Clive and Maurice were the better romantic pairing because they truly loved each other while Alec and Maurice's relationship was based on nothing but sex" that you end up writing a small essay in a Pinterest comment section (which had to be broken up into 500 word chunks because of Pinterest's word limit).

Anyway, I actually like what I wrote so I wanted to share it here. I didn't say everything I wanted to in the exact way that I wanted to due to the word restrictions, but I think it did the job.

[nottedty33]

my Maurice (1987) fanarts

[july-septembre]

part 2 of clive venting on twitter but im too lazy to change the photo of him

[bivampir]

Maurice girlies (gender-neutral) it's my duty to inform you that a Vietnamese LGBT movie channel have made a fan reconstruction of the 1987 movie, by adding all deleted scenes (which include establishing wayyyy earlier that Alec works at Durham's, establishing Alec's bisexuality, Maurice's beautiful ending monologue to Clive, and many more) resulting in a movie that's almost 3 hours long, and uploaded it to youtube (with English subtitles!) here!

[oscarwetnwilde]

Quotes from the movie Maurice (1987) 2/2

[transsexualcoriolanus]

yeah i'd love to bring e.m forster back from the dead to let him know that maurice was published and made into a film and gay people can get married in britain now and stuff, but on the other hand how would we break the news to him that a significant percentage of maurice fans prefer clive to alec from a combination of classism and being horny for hugh grant

[contact-guy]

My humble Holmes and Holmes-related collection of books, featuring some vintage fanfiction and two little figures that someone gave me as a gift

[thefairyfellermasterstroke]

[batri-jopa]

Maurice (1914) by E. M. Forster:

Introducing Clive Durham - the twink

[indigomood]

Maurice (1987) dir. James Ivory

[paris-in-a-whisper]

Of you and the soft sun.

[esanguedeborah]

Maurice, (1987) dir. James Ivory

[morrieandlicky]

Sweet Moments Between Maurice and Alec That You Have Not Seen Before (From E.M. Forster's 1st Draft for Maurice)

Context: Forster's first version of Maurice, finished in 1914, has a rather different ending than the final published version (no hotel scene, and no boathouse reunion). See here.

Forster's first draft for Maurice is, in my opinion, the rawest in terms of boldly displaying the love shared between Maurice and Alec. This version shows much more of Alec's emotion and tenderness, as well as of Maurice's sentiments and affection towards Alec. It is definitely not as subtle as the final version, with quite a few straightforward declarations of love.

Hence, I'm disappointed that Forster did not manage to integrate at least some of these 1914 texts into the final version: it would've made the love between Maurice and Alec much more pronounced and convincing, as well as made Alec a character with more depth and feelings.

Having read Forster's first draft for Maurice, I share below some of these moments between Maurice and Alec that are not in the final version (ordered on how lovely I think each moment is. Bolded texts are the highlights).

1. After running into Mr. Ducie in the museum and Maurice bursting out to Alec.

M: "I'd possibly have blown out my own brains."

A: "Why?" he asked, stopping dead.

M: "I should have known by that time that I loved you."

A: "You can't, sir, you couldn't."

M: "I love you, sir be damned."

A: "Maurice"—never before had the word been spoken—"you're an angel."

M: "I don't want to hear that."

A: "Maurice, Maurice" his voice failed also; he had once said the rest to a woman. "Maurice - what you've said I feel. Understand?"

M: "I think so, but I want to be sure. Remember those rose bushes in the other rain? - Look at me hard - That's right. That'll do. It's settled." (Maurice is referring to the moment when Alec ran in the rain across the rose bushes at Penge just to see Maurice's face.)

2. The conversation after Maurice refuses to stay the night with Alec—a scenario that only happens in the first draft in 1914. Be prepared for tears.

A: "Come just for a little to me."

M: "If I came it would be for ever."

A: "Ever's the best."

M: "Why, man, you sail Thursday."

Alec found no answer.

...: here's when Maurice explains in a long paragraph why they can't be together because of their class difference and the fact that they're both men. But in this long paragraph Maurice pretty much brings up wanting to marry Alec—"We can't have the particular thing we want (which is roughly speaking marriage) unless we sacrifice something else"

M: I thought from that letter of yours you might want me to come. But, Alec, come where to?"

A: "I'd know if you weren't a gentleman," Alec said. "We'd a' found work together as mates."

M: "Yes, and if you were a gentleman, I'd take you this minute to my home.

A: "I'd a' been what young Clive was to you, then."

M: "He's a saint and we aren't. Leave out him."

A: "I'd a' been yours till death, then." ("I would've been yours till death, then")

M: "Out there if you get a chance to marry, take it. That's what I wish.

A: "Maurice, what'll you do without me, dear? Have you no other friends?"

Maurice dared not look forward to his own future. He rushed on the parting.

M: "And if there's ever a child, I shan't ever have that, so remember me."

A: "I'll remember you, child or none. God bless you. O God bless you, and be with you if I can't."

3. Right after Maurice puts his hand on Alec's back in the museum

"Yes, awfully serious," remarked Maurice, and rested his hand on Alec's shoulder, so that the fingers touched the back of the neck, doing this merely because he knew that he loved Alec, that he loved him not as a second Dickie Barry, but deeply, tenderly, for his own sake, beneath weakness and vulgarity.

4. In the museum, Alec in pain and acting cute

[Alec] had bitten his lip, his eyes were red too; face and body were cramped with pain.

M: "Alec -"

A: "Alec am I?"

M: "I'm sorry I used that other name of yours."

A: "Don't speak to me," he growled, "let me go, you calling me Alec when I"

M: "Did you give me away then on purpose?"

A: "You're correct.

M: "Was it to get money - or only to do me harm?"

A: "I couldn't say."

M: "Come, let's get away where we can finish our talk."

A: "What? What do you say?"

M: "Come along, Alec."

A: "Do you call me that still?"

M: "Come away, man, don't break down for God's sake...." He took hold of [Alec's] arm. The touch was not reminiscent; it hinted at a relation to come.

A: "Oh but you must, I want it." Alec yielded.

5. Maurice at night thinking about Alec's letter

He tried to forget the treacherous letter, but it stole back to his mind, and he suffered most during moments in bed, when it masqueraded as a real love letter, and offered him the completeness that Clive enjoyed with Anne.

(This is brilliant writing because we, as readers, know that Alec's letter is a love letter, yet Maurice's "muddles" prevent him from seeing it as a love letter, and it is only at night, when he's craving Alec's presence, that he's able to allow himself to see the truth and succumb to his feelings for Alec.

Here, again, is also a suggestion of Maurice wanting to marry Alec, like how Clive married Anne)

6. One version of Maurice's and Alec's first night together

A: "Good evening - sir, said the low voice. Was you wanting something? Couldn't you sleep?" It was the gamekeeper.

On your rounds? gasped Maurice, trying to sound natural, and felt corduroys. Their touch disconcerted him. Whither was he tending from Clive into what companionship?

A: "Just wait till I've set down my gun - eh aren't you trembling?"

M: "So are you - ah don't."

A: "Don't you like that?"

M: "I don't know."

A: "Christ you're fussy. Don't you like me to touch you."

M: "That's you lad."

A: "Yes."

Side notes: hopefully these will shut all the detractors (of the relationship between Maurice and Alec) up—namely Clive apologists, Clive+Maurice shippers, and all of those dark academia classist out there.