Set against the haunting backdrop of Manderley, Daphne du Maurier’s “Rebecca” weaves a tale of love, mystery, and psychological intrigue. Each of the following quotes from “Rebecca” serves as a window into its complex narrative, revealing layers of emotion and suspense. From the iconic opening line to poignant reflections on death, memory, jealousy, and love, these quotes capture the essence of a timeless classic that continues to captivate readers with its atmospheric allure and psychological depth.
Nostalgia
“Last night I dreamt I went to Manderley again.”
The Second Mrs. de Winter, Chapter 1
The opening line of Daphne du Maurier’s “Rebecca” is spoken by the unnamed narrator, the second Mrs. de Winter. She reflects on her past experiences at Manderley, a grand estate where much of the novel’s drama unfolds. This sets a melancholic and mysterious tone, hinting at significant events that transpired at Manderley. Further, this line is written in poetic prose which sets the romantic tone of the novel.
The quote signifies the narrator’s vivid and haunting memories of Manderley, a place that has profoundly impacted her life. It suggests a deep connection and emotional attachment to the estate, now lost to her.
This opening line is crucial as it sets the tone for the entire novel, blending nostalgia with a sense of unease. It establishes Manderley as a central character in its own right, imbued with memories and secrets. The line employs a dream-like quality, reflecting the narrator’s troubled psyche and the pervasive influence of Rebecca, the first Mrs. de Winter. The use of first-person narration immediately draws the reader into the narrator’s inner world, creating an intimate connection. This quote encapsulates themes of memory, identity, and the haunting nature of the past, which are explored throughout the novel.
“There was Manderley, our Manderley, secretive and silent as it had always been, the gray stone shining in the moonlight of my dream, the mullioned windows reflecting the green lawns and the terrace. Time could not wreck the perfect symmetry of those walls, nor the site itself, a jewel in the hollow of a hand.”
The Second Mrs. de Winter, Chapter 1
This quote comes from the opening chapter of “Rebecca,” where the narrator, the second Mrs. de Winter, continues to describe her dream of Manderley. She envisions the estate in all its splendor, untouched by time and memory. This reflective passage deepens the initial introduction to Manderley, reinforcing its significance and beauty in her mind. The quote illustrates the narrator’s idealized and almost reverent memory of Manderley. It portrays the estate as timeless and unchangeable, a symbol of perfection and a cherished part of her past.
This quote emphasizes the lasting hold Manderley has on the narrator’s memory and emotions. It showcases the estate as a character itself, embodying themes of beauty, mystery, and permanence. The use of descriptive language and imagery (“gray stone shining,” “mullioned windows reflecting the green lawns”) evokes a vivid and almost magical picture of Manderley. Literary devices such as personification and metaphor (“a jewel in the hollow of a hand”) highlight the estate’s enduring allure and significance. This passage deepens the reader’s understanding of the narrator’s attachment to Manderley and sets the stage for the exploration of themes such as the passage of time, memory, and the impact of the past on the present.
Deceit
“I won’t push you. I won’t stand by you. You can jump of your own accord. What’s the use of your staying here at Manderley? You’re not happy. Mr. de Winter doesn’t love you. There’s not much for you to live for, is there? Why don’t you jump now and have done with it? Then you won’t be unhappy any more.”
Mrs. Danvers, Chapter 18
These words are spoken by Mrs. Danvers the day after the disastrous costume ball. The scene occurs during a climactic moment when Mrs. Danvers is attempting to manipulate the already insecure and anxious narrator into committing suicide. Mrs. Danvers’ cruel and malicious nature is fully revealed as she exploits the narrator’s vulnerabilities.
Mrs. Danvers says this to exert psychological control over the narrator, driven by her obsessive loyalty to Rebecca, the first Mrs. de Winter. Her aim is to push the narrator to her breaking point, further destabilizing her.
This quote is pivotal in revealing the extent of Mrs. Danvers’ malevolence and her deep-seated obsession with Rebecca. It highlights the psychological torment faced by the narrator and underscores the themes of manipulation, insecurity, and mental anguish. The direct and brutal language used by Mrs. Danvers (“There’s not much for you to live for, is there?”) amplifies the intensity of the moment and the narrator’s desperation. This passage serves to deepen the reader’s understanding of Mrs. Danvers’ character and her influence over the household. It also illustrates the narrator’s profound struggle with self-worth and the pervasive shadow cast by Rebecca, driving the plot toward a critical juncture in the story.
“She made a bargain with me up there, on the side of the precipice,” he said. ” ‘I’ll run your house for you,’ she told me, ‘I’ll look after your precious Manderley for you, make it the most famous show-place in all the country, if you like. And people will visit us, and envy us, and talk about us; they’ll say we are the luckiest, happiest, handsomest couple in all England. What a leg-pull, Max!’ she said, ‘what a God-damn triumph!’ She sat there on the hillside, laughing, tearing a flower to bits in her hands.”
Maxim de Winter, Chapter 20
This quote is spoken by Maxim de Winter to the second Mrs. de Winter as he reveals the truth about his relationship with Rebecca. Maxim describes a pivotal moment when Rebecca proposed a cynical bargain: she would maintain the appearance of a perfect marriage and manage Manderley, while secretly mocking the superficial success and happiness they would project to the world. This confession occurs during a crucial revelation that reshapes the narrator’s understanding of Rebecca and Maxim.
Maxim is recounting Rebecca’s manipulative and duplicitous nature, exposing the façade she maintained. Rebecca’s words reveal her contempt for the false image of a perfect couple and her delight in deceiving those around them.
Maxim says this to convey the true character of Rebecca and the nature of their marriage, which was built on deception and appearances. His confession aims to make the second Mrs. de Winter understand the reality behind Rebecca’s public persona and the torment he endured. This quote is significant as it unravels the myth of Rebecca’s perfection, exposing her as manipulative and insincere. Maxim’s recounting of Rebecca’s bargain highlights themes of deception, appearances versus reality, and the hollowness of societal admiration. The imagery of Rebecca laughing and tearing a flower to bits symbolizes her destructive and mocking nature. Further, this revelation shifts the reader’s perception of Rebecca, aligning it with Maxim’s perspective and evoking sympathy for his plight.
Death and Memory
“Rebecca would never come back to the room again. Even if Mrs. Danvers did put the flowers on the mantelpiece and the sheets upon the bed, they would not bring her back. She was dead. She had been dead now for a year. She lay buried in the crypt of the church with all the other dead de Winters.”
The Second Mrs. de Winter, Chapter 14
This quote is from the second Mrs. de Winter, reflecting on Rebecca’s death and her burial in the family crypt. This moment of contemplation occurs as the narrator grapples with the lingering influence of Rebecca at Manderley and the impact her memory has on her own life and marriage.
The narrator says this to remind herself and the reader of Rebecca’s physical absence while highlighting the paradox of her enduring influence. It is a moment of acknowledgment of the past and its continued hold over the present.
This quote is significant as it underscores the central tension in “Rebecca” between the living and the dead and the impact of memory on the present. The mention of Rebecca lying “with all the other dead de Winters” situates her within the family lineage, highlighting the weight of legacy and tradition at Manderley. The starkness of “She was dead” contrasts with the pervasive sense of Rebecca’s presence, emphasizing the novel’s exploration of how the past continues to shape the characters’ lives. This passage also reflects the narrator’s ongoing struggle to assert her own identity in the shadow of Rebecca, whose memory looms large despite her physical absence. The juxtaposition of death and lingering influence enhances the gothic atmosphere of the novel and reinforces themes of haunting, memory, and identity.
“Someone advanced from the sea of faces, someone tall and gaunt, dressed in deep black, whose prominent cheekbones and great, hollow eyes give her a skull’s face, parchment white, set on a skeleton’s frame… When she took my hand hers was limp and heavy, deathly cold, and it lay in mine like a lifeless thing.”
The Second Mrs. de Winter, Chapter 8
This quote describes the introduction of Mrs. Danvers to the second Mrs. de Winter at Manderley. Mrs. Danvers is portrayed as a formidable figure, dressed in mourning attire, with a strikingly severe and almost ghostly appearance. This encounter occurs early in the novel, setting the tone for Mrs. Danvers’ intimidating presence and her role in the unfolding drama at Manderley.
This quote is significant as it introduces Mrs. Danvers as a figure of ominous significance in “Rebecca.” The description of her as “tall and gaunt, dressed in deep black” evokes a gothic imagery that aligns with the novel’s atmospheric setting. The emphasis on her physical features—prominent cheekbones, hollow eyes, parchment-white skin—creates a chilling image that contrasts sharply with the narrator’s initial expectations of meeting the housekeeper. The sensation of Mrs. Danvers’ hand being “limp and heavy, deathly cold” intensifies the sense of unease and foreshadows the power dynamics and psychological manipulation that will characterize their relationship.
“Rebecca, always Rebecca. Wherever I walked in Manderley, wherever I sat, even in my thoughts and in my dreams, I met Rebecca. I knew her figure now, the long slim legs, the small and narrow feet. Her shoulders, broader than mine, the capable clever hands. Hands that could steer a boat, could hold a horse. Hands that arranged flowers, made the models of ships, and wrote “Max from Rebecca” on the flyleaf of a book. I knew her face too, small and oval, the clear white skin, the cloud of dark hair. I knew the scent she wore, I could guess her laughter and her smile. If I heard it, even among a thousand others, I should recognize her voice. Rebecca, always Rebecca. I should never be rid of Rebecca.”
The Second Mrs. de Winter, Chapter 18
This quote is from the second Mrs. de Winter, reflecting on the overwhelming presence of Rebecca, the first Mrs. de Winter, in her life at Manderley. The quote illustrates the narrator’s deep sense of being overshadowed by Rebecca. She feels Rebecca’s presence everywhere, as though Rebecca’s memory and legacy pervade every aspect of life at Manderley, leaving her feeling inferior and inadequate.
This quote is significant as it encapsulates the central conflict and the narrator’s emotional turmoil throughout the novel. The repetition of “Rebecca, always Rebecca” emphasizes the inescapable nature of Rebecca’s influence, symbolizing the pervasive impact of the past on the present. The detailed description of Rebecca’s physical attributes and talents contrasts sharply with the narrator’s self-perceived inadequacies, deepening the reader’s understanding of her insecurities. Literary devices such as imagery and repetition are used effectively to evoke a sense of obsession and suffocation. This passage also underscores themes of identity, comparison, and the haunting nature of memory, driving the narrative tension and character development as the narrator struggles to find her own place at Manderley amidst Rebecca’s lingering presence.
Love and Marriage
“It seemed to me, as I sat there in bed, staring at the wall, at the sunlight coming in at the window, at Maxim’s empty bed, that there was nothing quite so shaming, so degrading as a marriage that had failed. Failed after three months, as mine had done.”
The Second Mrs. de Winter, Chapter 18
When the heroine and Maxim fall in love with each other and decide to get married, the seed of doubt is planted in the heroine’s mind by Mrs. Van Hopper who tells her that Maxim only wants to marry her to fill up a big, empty space in his life. Mrs de Winter soon begins to believe this as true, and she harbors feelings of insecurity in the marriage – enough to call it a failed marriage within 3 months of the wedding.
Marriage is an important affair Mrs. de Winter, and a failed marriage is absolutely disastrous. She thinks that there is absolutely nothing “so shaming, so degrading as a marriage that had failed.” So sacred is the institution of marriage that the protagonist goes to any extent to protect it. Even when she discovers that her husband is a killer, she tries to protect him and her marriage at all costs. Interestingly, the law during the time allowed her to lie for her husband without committing a crime and was, therefore, encouraging her protective thoughts and feelings.
The importance of marriage bursts forth even in Maxim and Rebecca’s situation. As terrible as their relationship had been, they tried their best to keep up the delusion of a glorious marriage to the outside world.
“I can’t tell any more than you,” he said. “All we know is that the body is there, and it has got to be reported. There’ll be publicity, I’m afraid, Mrs. de Winter. I don’t know how we’re going to avoid it. It’s very hard on you and Mr. de Winter. Here you are, settled down quietly, wanting to be happy, and this has to happen.”
Captain Searle, Chapter 19
This quote is spoken by Captain Searle to the second Mrs. de Winter in Chapter 19, following the discovery of a body in the sunken wreckage of Rebecca’s boat. Captain Searle is explaining the unavoidable consequences of this discovery, including the ensuing publicity and the potential impact on the de Winters’ lives.
Captain Searle says this to inform the second Mrs. de Winter of the gravity of the situation and to prepare her for the public attention and investigation that will follow. His tone is compassionate, aiming to provide some comfort amidst the turmoil.
This quote marks a turning point in the novel, where the past resurfaces with tangible consequences for the present. The discovery of the body disrupts the fragile peace the de Winters have tried to establish in their marriage, bringing Rebecca’s lingering influence back to the forefront. Captain Searle’s words emphasize the inevitability of confronting the past, a recurring theme in the novel. His reference to “publicity” and the difficulty of avoiding it highlights the intrusive nature of public scrutiny and its impact on personal lives. The sympathetic tone underscores the emotional strain on the second Mrs. de Winter, who has been struggling with her insecurities and the shadow of Rebecca. This passage intensifies the narrative tension, setting the stage for further revelations and the unraveling of long-held secrets, driving the plot toward its climax.
Jealousy and Insecurity
“I could picture them saying to one another as they drove away, “My dear, what a dull girl. She scarcely opened her mouth,” and then the sentence I had first heard upon Beatrice’s lips, haunting me ever since, a sentence I read in every eye, on every tongue–“She’s so different from Rebecca.”
The Second Mrs. de Winter, Chapter 11
This quote is from the second Mrs. de Winter’s inner monologue as she imagines the thoughts of the guests after a social gathering at Manderley. She reflects on the perceived judgments of others comparing her unfavorably to Rebecca, the former mistress of Manderley. This moment occurs during a critical phase in the narrative where the narrator grapples with feelings of jealousy and the weight of Rebecca’s legacy.
The quote illustrates the narrator’s deep-seated insecurity and fear of being unfavorably compared to Rebecca. She imagines the guests criticizing her for being dull and unremarkable compared to Rebecca, whose charismatic presence still haunts Manderley and its social circles.
The narrator says this to reveal her ongoing struggle with self-doubt and the pressure of living up to Rebecca’s legacy. It reflects her acute awareness of how others perceive her and the constant scrutiny she feels under, perpetuated by the memory of Rebecca. The repetition of the phrase “She’s so different from Rebecca” amplifies the narrator’s anxiety and isolation, as she struggles to find her own identity amidst the shadow of her predecessor. This passage deepens the reader’s empathy for the narrator and underscores the novel’s exploration of insecurity, social judgment, and the enduring impact of the past on the present.
“I know people are looking me up and down, wondering what sort of success I’m going to make of it. I can imagine them saying, ‘What on earth does Maxim see in her?’ And then, Frank, I begin to wonder myself, and I begin to doubt, and I have a fearful haunting feeling that I should never have married Maxim, that we are not going to be happy. You see, I know that all the time, whenever I meet anyone new, they are all thinking the same thing–How different she is to Rebecca.”
The Second Mrs. de Winter, Chapter 11
This quote is from the second Mrs. de Winter, expressing her insecurities and doubts to Frank Crawley, the estate manager at Manderley. She confides in Frank about her anxieties regarding her marriage to Maxim de Winter and the constant comparisons she feels others make between her and Rebecca, Maxim’s first wife. This conversation reveals the narrator’s deep-seated fears and the emotional turmoil she experiences as she navigates her new life at Manderley.
The quote reflects the narrator’s fear of not measuring up to Rebecca in the eyes of others, and even in her own. She worries that people judge her negatively and question her suitability as Maxim’s wife, leading her to doubt her own happiness and the validity of her marriage.
This quote is significant as it encapsulates the narrator’s ongoing internal conflict and the pervasive influence of Rebecca’s memory on her psyche. The beginning of the marriage between the narrator and Maxim de Winter is fraught with jealousy. The second Mrs. de Winter cannot help feeling envious of her predecessor, Rebecca, as she continues to hear how glamorous and charming Maxim’s ex-wife had been when she was alive. This, combined with the fact that Mrs. de Winter comes from a working-class background works against her and causes her to feel an immense amount of jealousy towards Rebecca. It does not matter that Rebecca is dead – she believes that Rebecca was so brilliant and talented that people would prefer a dead woman to herself.
Social Class
“I am like a between-maid,” I said slowly, “I know I am, in lots of ways. That’s why I have so much in common with Clarice. We are on the same sort of footing. And that’s why she likes me. I went and saw her mother the other day. And do you know what she said? I asked her if she thought Clarice was happy with us, and she said, ‘Oh, yes, Mrs. de Winter. Clarice seems quite happy. She says, “It’s not like being with a lady, Mum, it’s like being with one of ourselves.”‘ Do you suppose she meant it as a compliment or not?”
The Second Mrs. de Winter, Chapter 12
In this quote from “Rebecca” by Daphne du Maurier, the second Mrs. de Winter (the narrator) is speaking to Maxim de Winter about her feelings of inadequacy and her perceived social status within Manderley. She compares herself to the housemaid, Clarice, and recounts a conversation with Clarice’s mother regarding Clarice’s happiness and acceptance within the household.
The quote reveals the narrator’s insecurity and self-doubt as she discusses her role and acceptance at Manderley. She identifies with Clarice, feeling akin to a servant rather than a lady of the house, and questions whether Clarice’s comment about feeling comfortable with her was intended as a compliment or a subtle dig at her status.
The narrator says this to express her anxiety about fitting into the aristocratic world of Manderley and to seek reassurance from Maxim. Her comparison to Clarice reflects her ongoing struggle with self-esteem and societal expectations, highlighting her fear of not measuring up to the idealized memory of Maxim’s first wife, Rebecca.
This quote is significant as it underscores the narrator’s feelings of inferiority and her constant comparison of herself to Rebecca. It explores themes of social class, identity, and acceptance, revealing the narrator’s internal conflict as she navigates her new life as the second Mrs. de Winter. The comparison to Clarice not only emphasizes the narrator’s insecurity but also serves to contrast her perceived status with her actual position within Manderley’s hierarchy. The quote illustrates the novel’s exploration of psychological tension and the protagonist’s struggle to assert her identity in the shadow of Rebecca’s legacy, highlighting du Maurier’s skill in portraying complex interpersonal dynamics and social commentary through subtle dialogue.
“The housemaid Alice had been so superior. I used to sneak my chemise and nightgowns out of my drawer and mend them myself rather than ask her to do them. I had seen her once, with one of my chemises over her arm, examining the plain material with its small edging of lace. I shall never forget her expression. She looked almost shocked, as though her own personal pride had received a blow.”
The Second Mrs. de Winter, Chapter 12
In this passage from “Rebecca” by Daphne du Maurier, the second Mrs. de Winter reflects on her experiences with the housemaid Alice and her own upbringing. She recounts a moment when Alice reacted with surprise and perhaps disapproval upon seeing the simplicity of the narrator’s underclothes, prompting the narrator to reconsider her own standards and habits.
The quote highlights the narrator’s naivety and insecurity regarding her social standing and domestic responsibilities at Manderley. It illustrates her awareness of class distinctions and the expectations placed upon her as the new mistress of the estate. The narrator’s decision to educate herself about trousseau and underclothes reflects her desire to fit into her new role despite her initial reluctance and lack of confidence.
The narrator recounts this to illustrate her growth and adaptation to life at Manderley, showcasing her evolving understanding of social norms and expectations. It also serves to highlight her vulnerability and self-consciousness, particularly in comparison to Alice’s more refined sensibilities and the traditional expectations associated with being a bride and mistress.
This quote is significant as it portrays the narrator’s journey of self-discovery and adaptation to her new role at Manderley. It underscores the novel’s themes of identity, class, and societal expectations, revealing the protagonist’s internal conflict as she navigates the complexities of her new life. The contrast between Alice’s reaction to the narrator’s underclothes and the narrator’s subsequent attempt to conform to societal norms highlights the pressure she feels to live up to the standards set by Rebecca and society’s expectations of a lady of the manor.
Justice
“I suppose sooner or later we all make a mistake in judgment,” said Colonel Julyan, “and then we are for it. Mrs. de Winter must have known how the wind comes down like a funnel in that bay, and that it was not safe to leave the helm of a small boat like that. She must have sailed alone over that spot scores of times. And then the moment came, she took a chance–and the chance killed her. It’s a lesson to all of us.”
Colonel Julyan, Chapter 21
This quote is spoken by Colonel Julyan during a conversation about the circumstances of Rebecca’s death. The investigation into her drowning has concluded, and Colonel Julyan is reflecting on the idea of human error and fate. He suggests that Rebecca made a fatal mistake in judgment while sailing alone, attributing her death to a risky decision in difficult conditions.
The irony in Colonel Julyan’s statement lies in his conclusion that Rebecca’s death was simply an unfortunate accident due to a lapse in judgment. The official verdict of accidental death serves as a form of “justice” that closes the case, bringing no legal consequences to Maxim. However, the reader knows that Rebecca’s death was not accidental—Maxim killed her and concealed the truth. The “justice” served here is ironic because the true circumstances of Rebecca’s death remain hidden, and the inquest’s conclusion is based on a false premise. This irony underscores the novel’s themes of deception, the elusiveness of truth, and the superficial nature of societal judgments. The official narrative offers a semblance of closure and justice, while the deeper, darker reality of Maxim’s actions remains undisclosed, highlighting the disparity between appearance and reality.
“The road to Manderley lay ahead. There was no moon. The sky above our heads was inky black. But the sky on the horizon was not dark at all. It was shot with crimson, like a splash of blood. And the ashes blew towards us with the salt wind from the sea.”
The Second Mrs. de Winter, Chapter 27
This quote is the closing passage of “Rebecca,” marking the end of the novel. It concludes the narrative as the second Mrs. de Winter reflects on her journey toward Manderley and the ominous atmosphere surrounding the estate.
The quote encapsulates a sense of poetic justice and unresolved tension. The description of the sky—inky black above and crimson on the horizon—suggests a contrast between darkness and an unsettling brightness, symbolizing the lingering presence of secrets and past traumas. The mention of ashes blown towards them with the salt wind reinforces the atmosphere of unease and suggests a reckoning with the consequences of past actions.
This quote is significant as it bookends the novel with a powerful and atmospheric depiction of Manderley. The imagery of the sky—dark and crimson—symbolizes the duality within the story: the contrast between appearances and reality, the tension between past and present, and the lingering presence of Rebecca’s memory. The ashes blown by the salt wind suggest a purging or cleansing, hinting at the possibility of redemption or closure for the characters.
Thus, there is also a sense of poetic justice at play here. The very last line of the novel, “And the ashes blew towards us with the salt wind from the sea” is written in the poetic anapestic tetrameter – which not only showcases the author’s unique writing style but also serves to provide poetic justice to a criminal at large in the form of Maxim de Winter.
