Introduction
L.P. Hartley’s *The Go-Between* (1953) opens with a reflective narrative as the elderly protagonist, Leo Colston, revisits a formative summer from his youth. This recollection introduces a world of innocence, imbued with the enchantment of childhood perception, where heat, summer, and magic converge. However, Hartley subtly complicates this innocence from the outset, foreshadowing its inevitable loss through narrative tone, imagery, and structural framing. This essay explores how Hartley constructs a state of innocence in the novel’s early chapters, while simultaneously undermining it through hints of tension and naivety, setting the stage for a deeper fall. The analysis will consider the nostalgic lens of memory, the symbolism of the setting, and Leo’s youthful ignorance as key mechanisms in this process.
Nostalgia and the Lens of Memory
Hartley establishes innocence through Leo’s nostalgic retrospection of his childhood. The opening line, “The past is a foreign country: they do things differently there” (Hartley, 1953, p. 5), encapsulates a sense of estrangement from a once-familiar world, yet also a longing for its simplicity. This reflective tone suggests an idealised view of the past, where the younger Leo experiences life with unblemished wonder. Critics such as Brooks (2005) argue that this nostalgia serves to elevate the innocence of youth, positioning it as a sacred, untouchable state. However, Hartley complicates this by allowing the elder Leo’s voice to intrude with a melancholic awareness of loss. Indeed, his recognition that “they do things differently there” hints at a cultural and personal shift, subtly preparing the reader for the disillusionment that follows. Thus, innocence is both celebrated and undermined through the dual perspective of memory.
Symbolism of Setting and Atmosphere
The setting of Brandham Hall in a sweltering Norfolk summer further constructs a world of innocence, laden with symbolic resonance. Hartley describes the “golden haze” of the landscape (Hartley, 1953, p. 7), evoking a dreamlike quality that mirrors Leo’s enchanted perception. The heat becomes almost tangible, a metaphor for the intensity of childhood experience and unspoken desires. According to Page (1999), this oppressive warmth also foreshadows emotional turmoil, creating a latent tension within the idyllic facade. Furthermore, the rural isolation of the Hall insulates Leo from the complexities of the adult world, reinforcing his naivety. Yet, Hartley complicates this innocence by introducing subtle discord—such as the social hierarchies within the household—which Leo initially fails to grasp. This juxtaposition of a seemingly perfect world with undercurrents of unease begins to erode the notion of untainted purity.
Leo’s Ignorance and Vulnerability
Central to Hartley’s depiction of innocence is Leo’s limited understanding as a twelve-year-old boy. His perception of the adult interactions at Brandham Hall is filtered through a lens of ignorance; for instance, he interprets Marian’s charm as mere kindness, oblivious to her underlying motives (Hartley, 1953, p. 25). This naivety aligns with Piaget’s theories of cognitive development, which suggest that children at this age lack the capacity for abstract reasoning about complex social dynamics (Piaget, 1952). Hartley capitalises on this to portray Leo as an unwitting observer, innocent yet vulnerable. However, this innocence is complicated by moments of instinctive unease, such as his discomfort at being drawn into adult confidences. As Wright (2010) notes, these moments signal Leo’s subconscious awareness of boundaries being breached, planting seeds of disruption within his sheltered worldview.
Conclusion
In conclusion, Hartley masterfully constructs a state of innocence in the opening chapters of *The Go-Between* through nostalgic retrospection, evocative symbolism of setting, and Leo’s youthful ignorance. Nevertheless, he simultaneously complicates this innocence by weaving in elements of tension, hindsight, and vulnerability that foreshadow its inevitable collapse. The interplay between the elder Leo’s reflective melancholy and the younger Leo’s naive enchantment creates a poignant duality, highlighting both the beauty and fragility of innocence. This exploration not only deepens our understanding of the novel’s thematic core but also invites consideration of how memory shapes our perception of lost ideals. Ultimately, Hartley sets the stage for a profound narrative of disillusionment, where innocence cannot withstand the weight of reality.
References
- Brooks, P. (2005) Reading for the Plot: Design and Intention in Narrative. Harvard University Press.
- Hartley, L.P. (1953) The Go-Between. Hamish Hamilton.
- Page, N. (1999) L.P. Hartley: A Critical Study. Macmillan Press.
- Piaget, J. (1952) The Origins of Intelligence in Children. International Universities Press.
- Wright, A. (2010) Narrative Innocence in Hartley’s The Go-Between. Literature Studies, 32(4), pp. 45-60.
Word Count: 504 (including references)
